Epic Theatre: A theatrical movement arising in the early to mid 20th Century from the theories and practise of a number of theatre practitioners including Bertolt Brecht. One of its main aims is for the audience to always be aware that it is watching a play and that one of the main features of ordinary theatre, "the engineering of illusion", should be excluded from "Epic Theatre".
The art form was a reaction against the popular forms of theatre, particularly the Naturalistic approach powered by Constantin Stanislavsky.
The V- Effect: Also known as the "Verfremdungseffekt", or "Distancing Effect" The technique is achieved by the way the artist brakes through the fourth wall that separates the world of the audience and the performer. Therefore, the audience can no longer have the illusion of being the unseen spectator at an event which is really taking place.
Gestus: Developed by Bertolt Brecht himself, "Gestus" is an acting technique that carries a combination of physical gesture and "gist" or attitude. The term means an adaption of an attitude to a scenes' social context.
Montage: A technique used in film editing in which a series of shots are edited into a condensed sequence of space, time and information. Music is normally placed in the background which derives the scene of dialogue. A "Montage" can also be described as self contained scenes juxtaposed against each other to highlight the contradictions of character and situation.
Didactic Theatre: This approach to theatre places an emphasis on instruction. It aims to intensify the thoughts and actions of its participants. Most commonly described as "theatre that teaches something", one of its main features include the foregrounding of ideas and content and their presentation by rhetorical means.
Not...But: Formed as part of the Brechtian approach to performance, "Not...But" is an acting technique that involves the actor preceding each thought that is expressed by their character in the dialogue or each action performed by their character in the scene with its dialectical opposite. The technique is a rehearsal exercise.
Titles: Within Brechtian performance work, "Titles" work as the structural guideline of the scene. The application of a title for a scene in Brecht theatre is used to define the story to follow.
Contradictions: "Contradictions" explains the moral dilemma's that an individual is faced with in life, but acts upon regardless of group/individual circumstance. For example, (looking at a dress in a shop that you know enforces slave labour but buying it regardless of the hardship of the workers that have to make it.)
Brecht draws upon the idea of "contradictions" in his art in order to exemplify the political caricatures that juxtapose one another in terms of status etc.
In Brechtian terms, the definition can also be referred to as Brecht's "theatre of contradictions".
The V- Effect: Also known as the "Verfremdungseffekt", or "Distancing Effect" The technique is achieved by the way the artist brakes through the fourth wall that separates the world of the audience and the performer. Therefore, the audience can no longer have the illusion of being the unseen spectator at an event which is really taking place.
Gestus: Developed by Bertolt Brecht himself, "Gestus" is an acting technique that carries a combination of physical gesture and "gist" or attitude. The term means an adaption of an attitude to a scenes' social context.
Montage: A technique used in film editing in which a series of shots are edited into a condensed sequence of space, time and information. Music is normally placed in the background which derives the scene of dialogue. A "Montage" can also be described as self contained scenes juxtaposed against each other to highlight the contradictions of character and situation.
Didactic Theatre: This approach to theatre places an emphasis on instruction. It aims to intensify the thoughts and actions of its participants. Most commonly described as "theatre that teaches something", one of its main features include the foregrounding of ideas and content and their presentation by rhetorical means.
Not...But: Formed as part of the Brechtian approach to performance, "Not...But" is an acting technique that involves the actor preceding each thought that is expressed by their character in the dialogue or each action performed by their character in the scene with its dialectical opposite. The technique is a rehearsal exercise.
Titles: Within Brechtian performance work, "Titles" work as the structural guideline of the scene. The application of a title for a scene in Brecht theatre is used to define the story to follow.
Contradictions: "Contradictions" explains the moral dilemma's that an individual is faced with in life, but acts upon regardless of group/individual circumstance. For example, (looking at a dress in a shop that you know enforces slave labour but buying it regardless of the hardship of the workers that have to make it.)
Brecht draws upon the idea of "contradictions" in his art in order to exemplify the political caricatures that juxtapose one another in terms of status etc.
In Brechtian terms, the definition can also be referred to as Brecht's "theatre of contradictions".
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