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Theme of social change in theatre
Essay on epic theatre
The influence of brecht
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Social change is defined as an ‘alteration in the basic structures of a social group or society’. Social change occurs when a group of people change their minds and beliefs on what is socially acceptable, this is usually due to an event or change in public opinion. Brecht’s epic theatre can be used as a vehicle for social change as it is used to convey a message to the audience.
Bertolt Brecht was born on the 10th of February 1898 in Augsburg, Germany. As a child he was unpopular, with outspoken views, which were thought to be beyond his years of knowledge. In order to avoid the war he enrolled himself in Ludwig Maximilian University of Munich; however, in 1918 he was inevitably recruited and forced to work as a medical orderly. In 1933 Brecht was exiled after disagreeing with Adolf Hitler’s views, he resided in America and was banned from German theatres after his books were burnt and his citizenship was revoked. During his time in exile, Brecht wrote three of his most well known plays; The Caucasian Chalk Circle (1944-1945), Mother Courage and her Children (1938-1939) and The Good Woman of Szechwan (1938-1940). Brecht’s plays were all written in the style of epic theatre. A phrase coined by Erwin Piscator in the 1920s.
Epic theatre is a style of theatre in which the audience is positioned to think as opposed to realism where the audience is positioned to feel. The purpose of making the audience think is so that they are able to have a clear, unbiased opinion on the situation being depicted in the play. Epic Theatre essentially retells a story already familiar to the audience, in the form of a fable such as the Caucasian Chalk Circle or in the form or, by retelling historical events.
Verfremdungseffecte (Alienation E...
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...in the story. The characters speaking in third person undermine the love story between Grusha and Simon, as Brecht believed the motivations behind the characters themselves were unimportant and only the story they were involved in was vital.
Brecht’s theatre could be used as an effective vehicle for social change. His style of epic theatre highlights social issues and portrays them in a way so that viewers have no emotional ties and only clear, unbiased opinions, making it easy to make decisions on the social justices and injustices of the stories. Epic theatre can be used to alter opinions as it educates people and severs ties of empathy so that people can clearly use their minds to make judgements. This would be helpful for changing societal beliefs as people are inclined to depend on emotions to make evaluations which is sometimes ineffective.
Eight Men Speak by Oscar Ryan et al presents a variety of epic devices employed throughout its composition. We see “the essential truth in every word of these six acts”(Foreword 5) come to life in this thought provoking presentation of didactic literature. Through the use of Epic Drama we see the effects of our corrupt government as it is brought into perspective using the epic devices of using the audience as active participants, using narration rather than action , and political engagement. These epic devices play a key role in portraying the didactic message of the play. The play causes the reader not only to be a present member of the audience, but to have presence of mind as well; to not only hear what the characters are saying, but to take initiative if they wish to see change.
An epic is a long narrative poem on a serious subject. It usually is about
Over the course of his career, Brecht developed the criteria for and conditions needed to create Epic Theatre. The role of the audience can be likened to that of a group of college aged students or intellectuals. Brecht believed in the intelligence of his audience, and their capacity for critical analysis. He detested the trance-like state that an Aristotelian performance can lure the audience into. Plays that idealize life and humanity are appealing to an audience, and this makes it easy for them to identify with the hero, they reach a state of self oblivion. The spectator becomes one with the actor, and experiences the same fantastical climax that is unattainable in real life.
Epic theatre developed in the 1920’s in Germany. German theatre director Erwin Piscator first introduced epic theatre in 1924 after World War I. After two years, Brecht perfected epic theatre. This theatre style was influenced by the horror and suffering of the middle class and lower clas...
The triviality of melodrama is so often the theatrical scapegoat that boils the blood of the modern-day critic: the sentimental monologues, the martyred young lovers, the triumphant hero, and the self-indulgent imagery. Melodrama would seem the ultimate taboo; another failed Shakespearean staging or even worse, an opera minus the pretty music. Ironically, Bertolt Brecht, dramatic revolutionary and cynic of all things contrived found promise in the melodramatic presentation. Brecht examined and manipulated the various superficial and spectacular aspects of theatre, establishing a synthesis of entertainment and social criticism as his fundamental goal. Bertolt Brecht employs various facets of melodramatic technique in The Jewish Wife, ultimately reconfiguring the genre and conveying his central theme; a society rendered immobile at the will of a totalitarian regime.
The Brechtian style of performance is a style of theater in which the audience is balanced between two modes of viewership. On the one hand the Brechtian style requires that the audience watch the show engaged emotionally, but not in the classic Aristotelian cathartic way. On the other hand it requires that the audience stay critically active in dealing with the performance, thus, achieving an alienated political and educational response among the members of the audience. Naturally this style of theater produces a conflict of interests in the direction of a show. Should the performance focus on garnering political influence and sway, or should the production be emotionally compelling and relatable, or perhaps a combination of both? In order
Since the story was written in the third person objective, it is easier for the reader to remain objective while analyzing the story. If we one were to hear the story from on of the character’s point of view, the retelling of the story would be clouded with various em...
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Hill & Wang New York,
The Globe Theater is said to be the most important structure in Shakespeare's dramatic career. The Chamberlain Company built the Theater in 1599. The Theater was located on the Southern shore of the Thames River in London. Shakespeare, being a member of the Chamberlain Company, became a shareholder in the Theater. Along with Shakespeare, James Burbage, his two sons, and five members of the troupe owned the Globe. This group of men was called Lord Chamberlains Men after a patron of the acting company. In May of 1603, King James I came to see their plays and the troupe changed their name to The King's Men. These people and groups became a living part of the Globe Theatre.
An epic is an extended narrative poem in elevated or dignified language, celebrating the feats of a legendary or traditional hero. The main characteristics of an epic as a literary genre is that it is a long poem that tells a story, it contains an epic hero, its hero searches for immortality (but doesn't find it physically, only through fame), gods or other supernatural beings are interested and involved, and it delivers an historical message. The Epic of Gilgamesh is classified as an epic because it fits all the characteristics of an epic as a literary genre.
Among the many famous writers we have studied this year is William Shakespeare. Shakespeare's life was assuredly most intriguing. Seeking answers, we had simple questions we wanted to determine. What were his morals? His passions? His legacy? When studying Shakespeare, we found that his life revolved around the Globe Theatre. Naturally we wanted to see why Shakespeare spent so much of his life involved in the Globe. The first Globe lasted from 1599-1613. Additionally, this structure was called the "wooden o" playhouse. Before the Globe, there was another "Theatre", which many people do not realize. "The Theatre" prospered for 21 years. Refusing to renew the players' lease, the landowner Giles Allen caused an unexpected problem for the players. James Burbage had recently died and his two sons, Richard and Cuthbert became managers. Although Allen owned the land, the sons owned the Theatre, and they wanted their valuable timber. In desperation, the brothers decided to take action. They leased land across the river and they waited until Christmastime to strike, when they could be sure Allen was away on vacation. At night they began to dismantle the Theatre piece by piece and floated it across the river Thames. With the timber, the brothers and their friends reconstructed their cherished playhouse. Because of the saying "the whole world is a stage" they would call it the Globe Theatre. By the middle of 1599 the Globe opened and was a huge success. Audiences were packed in "the house with a thatched roof", sometimes even so much as three thousand people could be held at once. For sixpence the rich sat in the Lord's Rooms to get a better view, which were on the top half of the Globe. For threepence they sat on cushions in the Gentlemen's Rooms. For twopence they perched on hard wooden benches, but most were called "groundlings" who paid a penny to stand in the yard beneath the open roof. Interestingly enough, there were two trap doors, the trap door to heaven and the trap door to hell. Since the players already had to pay for the structure most of the actors actually lived in the Theatre. During a play of Henry the V, a spark from a cannon accidentally caught the thatched roof on fire and the whole Globe was burned down in less than an hour. Yet within a year a second Globe was built and completed in 1614 but the Puritans tore it down in 1644.
During the mid 14th century, the black plague was running rampant. The church, being a state of God, did not know how to cure these people, causing those who came to them in need, asking why God was killing their family and friends, to become disillusioned. This caused many to turn away from the church, and look inwards instead, leading to the hugely influencial humanist movement. It was through these changes within their society that theatre was able to change and blossom into an act of freedom, a means in which society and state could be critiqued, a way to bring their viewers some escape from their hard laberous
Bruce, Wilshire. Role Playing and Identity: The Limits of Theatre as Metaphor. Indiana: Indiana University, Folklore Institute, 1991.
Applied Theatre work includes Theatre-in-Education, Community and Team-building, Conflict Resolution, and Political theatre, to name just a few of its uses. However, Christopher Balme states that “Grotowski define acting as a communicative process with spectators and not just as a production problem of the actor” (Balme, 2008: 25). Applied Theatre practices may adopt the following “theatrical transactions that involve participants in different participative relationships” such as Theatre for a community, Theatre with a community and Theatre by a community Prentki & Preston (2009: 10). Whereas, applied theatre one of its most major powers is that it gives voice to the voiceless and it is a theatre for, by, and with the people. However, Applied Theatre practitioners are devising educational and entertaining performances bringing personal stories to life and build
Theatre will always survive in our changing society. It provides us with a mirror of the society within which we live, and where conflicts we experience are acted out on stage before us. It provides us with characters with which we identify with. The audience observes the emotions and actions as they happen and share the experience with the characters in real time.