The Modern Theatre Is the Epic Theatre
http://dbpedia.org/resource/The_Modern_Theatre_Is_the_Epic_Theatre an entity of type: WikicatNon-fictionBooksAboutTheatre
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. This framework, written as a set of notes to accompany Brecht's satirical opera, ‘Rise and Fall of the City of Mahagonny’, explores the notion of "refunctioning" and the concept of the Separation of the Elements. This framework was most proficiently characterised by Brecht's nihilistic anti-bourgeois attitudes that “mirrored the profound societal and political turmoil of the Nazi uprising and post WW1 struggles”. Brecht's presentation of this theatrical structure adopts a style that is austere, utilitarian and remain
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The Modern Theatre Is the Epic Theatre
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The Modern Theatre is the Epic Theatre
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Bertolt Brecht
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Epic Theatre
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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. This framework, written as a set of notes to accompany Brecht's satirical opera, ‘Rise and Fall of the City of Mahagonny’, explores the notion of "refunctioning" and the concept of the Separation of the Elements. This framework was most proficiently characterised by Brecht's nihilistic anti-bourgeois attitudes that “mirrored the profound societal and political turmoil of the Nazi uprising and post WW1 struggles”. Brecht's presentation of this theatrical structure adopts a style that is austere, utilitarian and remains instructional rather than systematically categorising itself as a form that is built towards a more entertaining and aesthetic lens. ‘The Modern Theatre Is the Epic Theatre’ incorporates early formulations of Brechtian conventions and techniques such as Gestus and the V-Effect (or Verfremdungseffekt). It employs an episodic arrangement rather than a traditional linear composition and encourages an audience to see the world as it is regardless of the context. The purpose of this new avant-garde outlook on theatrical performance aimed to “exhort the viewer to greater political vigilance, bringing the Marxist objective of a classless utopia closer to realisation”.
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