epic theater

(redirected from Brechtian theatre)

epic theater:

see Brecht, BertoltBrecht, Bertolt
, 1898–1956, German dramatist and poet, b. Eugen Berthold Friedrich Brecht. His brilliant wit, his outspoken Marxism, and his revolutionary experiments in the theater made Brecht a vital and controversial force in modern drama.
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; Piscator, ErwinPiscator, Erwin
, 1893–1966, German theatrical director and producer who, with Bertolt Brecht, was the foremost exponent of epic theater, a genre that emphasizes the sociopolitical context rather than the emotional content or aesthetics of the play.
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References in periodicals archive ?
BRECHT IN PRACTISE Date: Sunday 21st May Time: 10am - 5pm Venue: Lyric Theatre, Belfast Creative Learning are delighted to offer an introductory workshop with David Barnett that will explore the principles of Brechtian theatre through exercises and exploration of scenes.
The operation of contradiction is inevitably related to the idea of subjectivity since the Brechtian theatre is intended to "divide its audience" (Brecht's words).
In my doctoral dissertation Brecht and China: Towards an Ethical Subject I examines the entangled relation within the dichotomies in the Brechtian theatre such as emotion and reason, reality and illusion, identification and alienation, and performer and spectator.
The production benefits from being helmed by German director Walter Meierjohann, who is well versed in Brechtian theatre.
Falcon Paradi cites Montes Huidobro's plays La Botija (1960) and El tiro por la culata (1961), both strongly tied to Brechtian theatre, as examples of this period in which the playwright supported the promises of the Revolution.
This is Brechtian theatre, challenging people to look critically at their situation and change it, provoking the insight into the ruling class myths controlling consciousness, including the myth that the world cannot be transformed.
Theatre of Estrangement offers fresh perspectives, on the one hand, on the techniques and underlying rationale of 'making strange' (ostranenie) as interpreted by the Russian Formalists and extensively deployed by Russian avant-garde dramatists, and, on the other, on anti-illusionist alienation devices associated with Brechtian theatre.
Mike Alfred's production of Pedro, The Great Pretender had all the markings of Brechtian theatre, as Billington observed: "an episodic structure, a delight in storytelling, and an underdog hero who dispenses justice and redistributes wealth" (Guardian, September 10, 2004).
These assaults on emotionally indulgent identification with supposed "realism," together with the advocacy of ancient contrivances which never pretended to such realism, all anticipate the "alienation," "estrangement" or Verfremdungseffekte of Brechtian theatre.