facts
Bertolt Brecht Xhesi Geshteja
Brecht was both playwright and producer/director of his own and other peoples plays. He also wrote on dramatic theory. The theory describes theatre as Brecht wished it to become. This theory is only partly realised in his own work. Brecht would say that this is the result of the theatre's and society's not being ready yet for the final, perfected version of epic theatre. Modern theatre critics might say that Brecht's practical sense of what works in the theatre has happily overruled the more extreme applications of his theory.
His plays are humorous and present social and political questions. The fourth wall is rejected, stories are improbable, settings exotic, songs serve as commentary on action.
Brecht's view is that actor should not impersonate, but narrate actions of another person, as if quoting facial gesture and movement.
“The Brechtian style of acting is acting in quotation marks.”
Brecht uses the example of an accident-eyewitness. To show bystanders what happened, he may imitate, say, the victim's gait but will only quote what is relevant and necessary to his explanation.
The Gestus: This is Brecht's term for basic human attitudes - department, intonation, facial expression. The Stanislavskian actor works at identifying with the character he or she portrays. The Brechtian actor works at expressing social attitudes in clear and stylized ways.
Brecht believed the stage should be brightly lit at all times, special effects to create mood were not allowed. The sources of light should be plainly visible.
The music must have a visible source, musicians may even be on the stage. Interruptions for songs are announced or indicated by projection of a title, or flags and trumpets will descend from the flies.
Rehearsal: Brecht made actors turn their lines into third person narrative. Actions given in stage directions are narrated. Brecht would include, in the text spoken in
Brecht was both playwright and producer/director of his own and other peoples plays. He also wrote on dramatic theory. The theory describes theatre as Brecht wished it to become. This theory is only partly realised in his own work. Brecht would say that this is the result of the theatre's and society's not being ready yet for the final, perfected version of epic theatre. Modern theatre critics might say that Brecht's practical sense of what works in the theatre has happily overruled the more extreme applications of his theory.
His plays are humorous and present social and political questions. The fourth wall is rejected, stories are improbable, settings exotic, songs serve as commentary on action.
Brecht's view is that actor should not impersonate, but narrate actions of another person, as if quoting facial gesture and movement.
“The Brechtian style of acting is acting in quotation marks.”
Brecht uses the example of an accident-eyewitness. To show bystanders what happened, he may imitate, say, the victim's gait but will only quote what is relevant and necessary to his explanation.
The Gestus: This is Brecht's term for basic human attitudes - department, intonation, facial expression. The Stanislavskian actor works at identifying with the character he or she portrays. The Brechtian actor works at expressing social attitudes in clear and stylized ways.
Brecht believed the stage should be brightly lit at all times, special effects to create mood were not allowed. The sources of light should be plainly visible.
The music must have a visible source, musicians may even be on the stage. Interruptions for songs are announced or indicated by projection of a title, or flags and trumpets will descend from the flies.
Rehearsal: Brecht made actors turn their lines into third person narrative. Actions given in stage directions are narrated. Brecht would include, in the text spoken in