German theatre practitioner The Good Person of Szechwan is a
play written by Bertolt Brecht. This play is an example of Brechts Non Aristotelian drama that is intended to be stages with the methods of epic theatre. Brecht himself proposed the idea of epic theatre who suggested that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. He thought that the experience of a climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognize social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed and, as such, was changeable. The first technique used and understood in this was Epic play. When Brecht was looking for a term that would encompass the type of theatre he was looking to create, he was influenced by the work of Erw the Epic Play will follow a story familiar to the audience. The story is often in the form of a fable, or it will show historical events. Brecht's intention in using known material was to make it unsensational: by taking away any attraction-grabbing wrapping' that an original story may have, Brecht was stripping away a disguise that dramatic theatre often uses in Piscator, an established German director who during the 1920s and 30s was involved in the creation of new theatre forms. Piscator was the first person to coin the phrase
Epic Theatre, a term that Brecht is often associated with. The
characters in the epic play represent an individual who in turn represents all humankind. This also assists in breaking any empathy that one might feel for a character. Epic Actors serve as narrators and demonstrators. They retell events and in doing so demonstrate actions and events that assist in the audience's understanding the situation. Brecht wanted his actors to always remember that they are an actor portraying another's emotions, feelings and experiences. To assist in achieving this, Brecht often used a device or theatrical technique called Gestus. Gestus was a gesture or position that an actor would take up at crucial sections in the play. The gesture or action aimed to encapsulate the feelings of the character at the one time, and also briefly stopped the action. The most famous Gestus ever used was in Brecht's Mother Courage where the character of Mother Courage looks out to the audience, her face posed in a silent scream. In the play, the placards and the songs sung out of character as commentary on the action, the frequent changes of tone and switches of level, the theatrewithin-the-theatre (Shen Teh's role switching, e.g.), the self-conscious insistence that we are, indeed, in a theatre (observing the scene changes and so on), and much of what later came to be called Verfremdung, can be understood as manifestations of this urge to create a theatre that is not so much 'dramatic' as 'epic'. Epic Actors serve as narrators and demonstrators. They retell events and in doing so demonstrate actions and events that assist in the audience understand the situation. Brecht wanted his actors to always remember that they are an actor portraying another's emotions, feelings and experiences. To assist in achieving this, Brecht often used a device or theatrical technique called Gestus. Gestus was a gesture or position that
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an actor would take up at crucial sections in the play. The
gesture or action aimed to encapsulate the feelings of the character at the one time, and also briefly stopped the action. The most famous Gestus ever used was in Brecht's Mother Courage where the character of Mother Courage looks out to the audience, her face posed in a silent scream. Brecht had no desire to hide any of the elements of theatrical production. Lighting, music, scenery, costume changes, acting style, projections and any other elements he called upon were in full view of the audience; a reminder that they are in a theatre, and what they are watching is not real. Brecht also wished to change the scale of the properties used, and then also use them out of context. For example, using a skyscraper that makes up part of the set and turning it over to use as a judges table in a courtroom. This challenged the audience, and also reminded them that they were watching something that was being manufactured, and not real life. the best known technique of Brecht's epic theatre is the Alienation Effect: to make the familiar strange. Although the term alienate' may conjure up images of separating one thing from another by building a wall, this is not the case. The Aeffect takes "the human social incidents to be portrayed and label[s] them as something striking, something that calls for explanation, is not to be taken for granted. The purpose of this technique was to make the audience feel detached from the action of the play, so they do not become immersed in the fictional reality of the stage or become overly empathetic of the character. Although epic theatre is often perceived as lacking in emotion or entertainment value, Brecht was actually intent on creating a theatrical experience that entertained educated and provoked
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thought. This misconception seems to stem from the notion
that entertainment and education cannot coexist. However his productions used intelligent humour, dance, music, clowning and colour to tell stories with high political and social content. After all, theatre is supposed to represent life, and life is derived from of combination of the personal, social and political climate of the time.