epic theatre

Dramatic form developed in Germany after World War I by Bertolt Brecht and others, intended to provoke rational thought rather than to create illusion.

It presents loosely connected scenes often interrupted by direct addresses to the audience providing analysis, argument, or documentation. Brecht's goal was to use alienating or distancing effects to block the emotional responses of the audience members and force them to think objectively about the play. Actors were instructed to keep a distance between themselves and the characters they portrayed and to emphasize external actions rather than emotions.

* * *

▪ dramatic genre

Germanepisches Theater

      form of didactic drama presenting a series of loosely connected scenes that avoid illusion and often interrupt the story line to address the audience directly with analysis, argument, or documentation. Epic theatre is now most often associated with the dramatic theory and practice evolved by the playwright-director Bertolt Brecht (Brecht, Bertolt) in Germany from the 1920s onward. Its dramatic antecedents include the episodic structure and didactic nature of the pre-Expressionist (Expressionism) drama of the German playwright Frank Wedekind (Wedekind, Frank) and the Expressionist theatre of the German directors Erwin Piscator (Piscator, Erwin) (with whom Brecht collaborated in 1927) and Leopold Jessner (Jessner, Leopold), both of whom made exuberant use of the technical effects that came to characterize epic theatre.

      Brecht's perspective was Marxian (Marxism), and his intention was to appeal to his audience's intellect in presenting moral problems and reflecting contemporary social realities on the stage. He wished to block their emotional responses and to hinder their tendency to empathize with the characters and become caught up in the action. To this end, he used “alienating,” or “distancing,” effects to cause the audience to think objectively about the play, to reflect on its argument, to understand it, and to draw conclusions (see alienation effect).

      Brecht's epic theatre was in direct contrast to that encouraged by the Russian director Konstantin Stanislavsky (Stanislavsky, Konstantin Sergeyevich), in which the audience was persuaded—by staging methods and naturalistic acting—to believe that the action onstage was “real.” Influenced by conventions of Chinese theatre, Brecht instructed his actors to keep a distance between themselves and the characters they portrayed. They were to disregard inner life and emotions while emphasizing stylized external actions as signs of social relationships. Gesture, intonation, facial expression, and grouping were all calculated to reveal overall attitudes of one character toward another. Compare Stanislavsky method.

* * *