172:". He must reflect and interrogate himself about the possibilities; he should surprise himself. Brecht suggested this should be done in terms of an actor evaluating their choices first in terms of what they were not doing, and then in terms of what they were doing. Every choice has an opposite that the actor needs be aware of. In the scientific age, an actor should be able to play an emotion sociologically, by the interaction of the ensemble of characters.
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much. Theater should resolutely come to the aid of the unfurling of the historical process; that stage-techniques themselves are socially engaged; and that in the end there is no eternal "essence" of art, but rather that "each society should invent the art that disposes it best to its own redemption".
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and politics". It consists in "having an object, a character, a process perceived, and at the same time, rendering it unexpected, strange." The goal is to "push the viewer to establish some distance in his relation to reality", to wake him or her up to reality. The effect would allow the viewer to
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Brecht says the great progressive themes of our time: to know that the evils of humanity are in the hands of mankind itself, that is to say that the world can be managed, that Art can and should intervene in
History; that it should accomplish the same tasks as the sciences, with which it shares so
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He also points out that beyond purging souls, it would be a mistake for theater to try to reproduce the reality of its spectators exactly on stage. He did not believe this identification between the viewer and the dramatic character was acceptable to the needs of the modern stage. Instead, there
79:: "What liberation is this, given that at the end of all these plays, which worked happily only because of the spirit of their time (providence - the moral order), we live a dream-like execution that punishes exaltation as much as debaucheries?" Brecht here makes reference to the tragedies of
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The construction of one character happens simultaneously with all the others. The actor must take possession of his character and critically calculate its various manifestations. Learning a character is not only a critical process, but one that must evolve with the development of the other
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The actor should examine the world around him. With all his being he must pay attention to gestures, and imitate the world through a process of reflection. He must amplify what he observes, because the original is too subtle, "it speaks too softly".
50:"; when it was re-published in 1953 he identified it as a "description of a theatre of the scientific age"; later still he augmented it with some appendices and linked it to his notes for a "
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characters. The fictive object is a character that has evolved in a society, a given situation, and owes its construction to relationships with other characters.
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as an example and mentions that there is still an interest in producing/performing it because such taboos still exist. He attacks the core of the
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should be a different kind of relationship between the protagonists and the spectators. This relationship, or rather, this phenomenon, he called
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become conscious of his or her own existence or intrinsic reality within the context of the themes of the production.
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in 1948 and published in 1949. In a diary note from the time he refers to it as a "short condensation of the
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by the character, and beauty for its own sake, are some of the aspects of traditional acting to which
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and taking as an example ancient tragedies and comedies, he rejects the idea of
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thus politicizes consciousness and overcomes the alienation of the individual.
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would become the center of his own poetics and of "Epic
Theater".
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184:, Éd. De L’Arche, Paris, 1948 (Fragments 34, 47 à 49, 58 à 62, )
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Brecht, Bertolt. 1949. "A Short
Organum for the Theatre".
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Ed. and trans. John
Willett. London: Methuen, 1964.
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This concept of alienation lies at the "boundary of
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Brecht on
Theatre: The Development of an Aesthetic.
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168:It is important for the actor to understand "
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65:Returning in the history of theater to the
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229:by Bertolt Brecht. London: Methuen, 1964.
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858:Bertolt Brecht theories and techniques
810:The Modern Theatre Is the Epic Theatre
397:Rise and Fall of the City of Mahagonny
348:Downfall of the Egotist Johann Fatzer
140:Observation: imitation and reflection
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83:, and to the comedies and dramas of
473:Fear and Misery of the Third Reich
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383:The Baden-Baden Lesson on Consent
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536:The Resistible Rise of Arturo Ui
466:The Horatians and the Curiatians
225:Willett, John. 1964. "Note". In
863:Non-fiction books about theatre
816:A Short Organum for the Theatre
564:Schweyk in the Second World War
508:Mother Courage and Her Children
116:(in English, distancing or the
32:A Short Organum for the Theatre
18:Little Organum for the Theater
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599:Die Verurteilung des Lukullus
550:The Visions of Simone Machard
459:Round Heads and Pointed Heads
182:Petit Organon pour le théâtre
522:Mr Puntila and His Man Matti
424:Saint Joan of the Stockyards
529:The Good Person of Szechwan
376:The Flight Across the Ocean
27:Theoretical work on theatre
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795:Separation of the elements
571:The Caucasian Chalk Circle
431:The Exception and the Rule
42:. It was written while in
868:Works about playwrighting
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680:What Keeps Mankind Alive?
320:Mysteries of a Barbershop
659:Reminiscence of Marie A.
152:The "possession" of the
585:The Days of the Commune
327:In the Jungle of Cities
739:Non-Aristotelian drama
494:How Much Is Your Iron?
480:Señora Carrar's Rifles
803:Messingkauf Dialogues
606:Report from Herrnburg
515:The Trial of Lucullus
452:The Seven Deadly Sins
38:theatre practitioner
557:The Duchess of Malfi
369:The Threepenny Opera
313:Driving Out a Devil
52:dialectical theatre
641:Trumpets and Drums
299:Drums in the Night
130:Verfremdungseffekt
114:Verfremdungseffekt
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751:Defamiliarization
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543:Hangmen Also Die!
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118:alienation effect
16:(Redirected from
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213:. pp. 179–205.
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48:'Messingkauf'
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727:Epic theatre
718:Theories and
673:Pirate Jenny
666:Alabama Song
651:Poems, songs
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417:The Decision
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701:Kinderhymne
445:Kuhle Wampe
404:Der Jasager
87:. He takes
85:Shakespeare
44:Switzerland
852:Categories
733:LehrstĂĽcke
720:techniques
708:Die Lösung
613:Coriolanus
438:The Mother
189:References
125:aesthetics
785:Not / But
592:The Tutor
390:Happy End
334:Edward II
306:A Wedding
81:Sophocles
77:catharsis
73:Aristotle
838:Category
634:Don Juan
627:Turandot
578:Antigone
282:Dramatic
237:. p.205.
107:Politics
58:Against
100:Poetics
94:Poetics
89:Oedipus
68:Poetics
60:Poetics
769:Gestus
501:Dansen
233:
209:
36:German
762:Fabel
284:works
154:actor
292:Baal
231:ISBN
207:ISBN
120:).
71:of
54:".
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218:^
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267:e
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20:)
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