epic theater

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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 ?
In the plays of Shakespeare and his contemporaries, Brecht noticed a precursor to this epic theater.
From 1926 onward, Begbick's role has invited reflection on these conflicting views, and particularly since the 1980s, feminists have become aware of parallels between their own objectives and those of epic theater.
Usually, Brecht is most concerned with the laws of socioeconomics and class warfare in this dramaturgy, but materialist feminists (such as Dolan) have recognized how qualities of epic theater overlap with the ambitions of feminism.
Thus, the epic theater "mustn't be judged by its success in satisfying the audience's habits but by its success in transforming them.
The feminist potential of Conrad's epic theater resides in the performative nature of both the female character and the play.
Thus, a few years before Brecht published his strategy for creating political theater, Virginia Woolf vicariously staged an epic theater piece.
A similar concept was the Living Newspaper, which later became part of the tradition of epic theater.
While Benjamin's analysis of Brecht focuses specifically on epic theater, the section seems equally applicable to poems and novels, as is suggested by his discussion of Rend Maubtanc at the end of the essay.
In his essay, Brecht suggests how the alienation effects of Chinese opera might be used to develop theater reform in modern-day Europe, and more specifically, "ein realistisches und revolutionares Theater;" that is, Brecht's concept of epic theater (22.
While Sullivan similarly extricates her characters from their imbrication within a seamless narrative, her work departs from Brecht's epic theater in a significant way.
It was the key to epic theater, the "theater for the scientific age," and illustrated the assumption that human beings collectively (but not as individuals) were or could be in charge of their own destinies.
It became part of the epic theater tradition initiated by Erwin Piscator and Bertolt Brecht in Germany in the 1920s.