... characters behaviour, but enough to give a picture; the actor must not go so far as to be wholly transformed into the person being demonstrated as can be seen in Stanislavsky techniques, but be critically objective in their demonstration of the role. Events should be shown without emotion and the text alienated by reporting on events rather than performing them. (www. ; Dramarama ... seen in the stage directions of The Island by Athol Fugard, in which he mentions the use of harsh white light. (A.Fugard, The Island; pg?) Another device cutting across the narrative and breaking the realis...

• Word Count: 1464
• Approx Pages: 6
• Grade Level: Undergraduate

... it should watch with critical detachment. Brecht attempted to destroy the theatrical illusion, but in the end, his audience stubbornly went on being moved to terror and pity. Brecht's "epic" (narrative and non-dramatic) theatre is based on detachment, on the Verfremdung or translated, the alienation effect, to "disrupt the viewer's normal or run of the mill perception by introducing elements ... that will suddenly cause the viewer to see familiar objects in a strange way and to see strange objects in a familiar way" (Fuegi, p.83). This was achieved through techniques that reminded the a...

• Word Count: 1259
• Approx Pages: 5
• Has Bibliography
• Grade Level: Undergraduate

... thought and worked in terms of Marxist dialectic and he really wasn't kidding. " (Bicknell 2012) Over the course of his career, Brecht developed his so-called epic theatre, in which narrative, montage, self-contained scenes, and rational argument were used to create a shock of realization in the spectator. To create a distancing effect, Brecht promoted acting and staging that would merely demonstrate ... outlines his understanding of what epic theatre is and how it should be used in practice. Brecht explains what makes the epic theatre different from modern theatre and discusses the tec...

• Word Count: 2709
• Approx Pages: 11
• Has Bibliography
• Grade Level: Undergraduate