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Set design for a production of Brecht's Mother Courage and Her Children, featuring a large scene-setting caption Polen ("Poland") above the stage. The distancing effect, also translated as alienation effect (German: Verfremdungseffekt or V-Effekt), is a concept in performing arts credited to German playwright Bertolt Brecht.
Instead, there should be a different kind of relationship between the protagonists and the spectators. This relationship, or rather, this phenomenon, he called Verfremdungseffekt (in English, distancing or the alienation effect). This concept of alienation lies at the "boundary of aesthetics and politics". It consists in "having an object, a ...
Mother Courage is an example of Brecht's concepts of epic theatre and Verfremdungseffekt, or "V" effect; preferably "alienation" or "estrangement effect" Verfremdungseffekt is achieved through the use of placards which reveal the events of each scene, juxtaposition, actors changing characters and costume on stage, the use of narration, simple ...
Theater-in-the-round is a particularly appropriate setting for staging of dramas using Bertolt Brecht's alienation effect, [2] which stands in opposition to the more traditional Stanislavski technique [3] in drama. Alienation techniques include visible lighting fixtures and other technical elements.
Bertolt Brecht [ edit on Wikidata ] Conceptualised by 20th century German director and theatre practitioner Bertolt Brecht (1898–1956), " The Modern Theatre Is the Epic Theatre " is a theoretical framework implemented by Brecht in the 1930s, which challenged and stretched dramaturgical norms in a postmodern style. [ 1 ]
The implementation of this theatrical framework intended to challenge and stretch dramaturgical norms and essentially transcend the way theatre was being perceived and created in a postmodern society. Hence, Brecht developed various other theories which set to re-introduce the theatrical realm which included; The Alienation Effect [1]
Bertolt Brecht in 1954. Epic theatre (German: episches Theater) is a theatrical movement that arose in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of new political dramas.
The communist dramatist Bertolt Brecht made extensive use of neutral and character masks. In plays such as The Caucasian Chalk Circle and The Good Person of Szechwan , the masks support what Brecht called "the alienation effect" (see distancing effect ).