Bertolt Brecht En Sy Epiese Teater Essay - 2661 Words
Home > Essays > Bertolt Brecht En Sy Epiese...
Only available on StudyMode Pages : 8 (2661 words )
Download(s) : 2327 Published : July 16, 2007
Die mens se sienning oor die lewe word beïnvloed deur die tydperk waarin hy grootword asook sy omgewing.
Wêreld oorloë samevatting:
Bertolt Brecht. Die Duitse dramaturg, regisseur en digter wat erken word as een van die mees belangrikste en invloedryke figure van drama in die 20ste eeu.
Brecht se unieke behandeling van sosiale temas en revolutionêre eksperimente met teater elemente het n geweldige groot invloed op moderne drama, toneelspel en teaterontwikkelings.
Bertolt Brecht was gebore op 10 Februarie 1898 in Augsburg, Bavaria (Duitsland). Gedurende die Eerste Wêreld Oorlog het Brecht op sestienjarige ouderdom as n mediese ordonnans gedien. Reeds in 1914 het Brecht gesien watter vernietigende effek oorlog op die mensdom het. Na die Eerste Wêreld Oorlog het Brecht Medies gestudeer aan die Universiteit van Munich. Hier was hy vreeslik beïnvloed deur ekspressionisme en het hy sy eerste werke begin skryf, dus die ontstaan van Epiese Teater in 1920. Op daardie stadium het hierdie teaterstyl nie veel invloed gehad op die teater nie, eers later na 1945 (Die Tweede Wêreld Oorlog) het Brecht se Epiese Teater n groot invloed begin hê op die teater. In 1924 het Brecht as n assistent dramaturg gewerk by die Berlin Deutsches Theatre, onder leiding van Max Reinhardt. In dieselfde jaar het Brecht begin om Marxisme - n leerstelling wat glo aan sosiale demokrasie, waar almal gelyk en regverdig behandel word - te studeer. Gedurende sy jare by die Deusches Theatre het Brecht in medewerking getree met Erwin Piscator, n Duitse Marxisme dramaturg, asook Kurt Weill n Duitse komponis. Piscator en Weill het dieselfde ploitieke siennings gehad as Bertolt Brecht. Die toneelstuk Man is Man (Mann ist Mann) in 1926, word gekenmerk as die begin van Brecht se eksperimente met die vernuwende vervreemdingstegnieke, afgelei van die duitse term verfremdung, wat beteken om iets, anders of vreemds voor te stel. Verder vanaf 1928 tot en met Adolf Hitller aan bewind gekom het, in 1933, het Brecht vele operas en didaktiese tonele geskryf en teweeggebring. Hierdie werke het geweldig kapitalisme gekritiseer, en soms "aangeval". Die kommer oor geregtigheid het n groot invloed gehad op die temas van Brecht se werk. Gedurende hierdie tydperk in Brecht se loopbaan het die werklike ontwikkelling van sy Epiese teaterstyl plaasgevind.
Die hoofdoel van Brecht se Epiese Teater was om sy gehoor te laat fokus op die boodskap wat n toneel aan die gehoor oordra, in plaas daarvan om emotioneel betrokke te raak by die temas en karakters van die toneel. Dus wil Brecht sy gehoor se gedagtes prikkel sodat hulle samelewing kan verander en sodoende dat Brecht n effek buite die teater kan hê. Brecht noem sy teater Epies, omdat hy homself wou distansieer van die heersende teaterstyle naamlik Realisme - n Eerlike weergawe van die werklikheid op die verhoog - en Naturalisme - Ook n eerlike weergawe van die werklikheid op die verhoog, behalwe by Naturalisme word die verhooginkleding belangriker as die akteurs of handeling op die verhoog. Brecht het geglo dat drama die samelewing kon onderrig en verander, dus moet dit polities wees. So ook dat Realistiese teaterstyle verouderd is en dus geen funksie in die samelewing het nie. Hy wou hê sy gehoor moet verstaan dat alles eintlik dieselfde bly, maar net op n ander manier voorgestel word. Brecht se gehoor was dus pasiewe waarnemers en slegs emosioneel betrokke by die gebeure op die verhoog. Hy wou hê sy gehoor moes dit wat hulle op die verhoog sien waarneem, analiseer en kritiseer sodat hulle kan leer uit foute van die verlede en sal probeer om nie dieselfde foute te maak nie. Die gehoor moes dus probeer om die sameleweing te genees van korrupsie en onregverdige politieke stelsels. Om hierdie leerstelling te bereik moet die gehoor herhaldelik herinner word dat hulle binne n teater is. Hierdie doel was bereik deur Brecht se Verfremdungstegniek wat die volgende... Show More Please sign up to read full document.
Brecht's Marxist political convictions led him to propose an alternative direction for the theatre combining the meaning of instruction and entertainment. In this way the theatre could project a picture of the world by artistic means and offer models of life that could help the audiences understand their social environment both rationally and emotionally. Brecht's emphasis on the political and didactic significance of theatre inspired him to try and alert audiences for the need of social change. This introduced ‘Epic Theatre’ generally described as Brecht's theory and techniques of dramatic action that was episodic. Epic Theatre presents a sequence of...
Struggling to seek one's own identity, one's own passions, and one's curiosity has long been something that can cause conflict in society and within an individual. There are those, some great, who are driven to find some truth in life no matter the consequences, even if those consequences were death. In Bertolt Brecht's Galileo, the reader is presented with a man who is driven to seek scientific truths, while also working with the society/Church that would berate
him for his studies and findings. The following paper utilizes the story of Galileo as a foundation for discussing the difficulties of scientists who seek the truth when it conflicts with the ideas of the society. Galileo by Bertolt Brecht
Brecht's play actually comes in apparently two forms, an earlier version and another version that he revised after the bombing of Japan. In his original play, the ending was different. With the revised edition, Brecht apparently did not recant his ideas. However, whatever version one reads, it is apparent that Galileo was a great thinker, passionate person and determined man when it came to seeking truth. As written in the book, "we must proceed cunningly." This is because society, in Galileo's case the Church, had its own ideals that it needs to protect and direct the people. According to the Church, Galileo's ideas were dangerous to that ruling society for it would perhaps give people the belief that God...
Bertolt Brecht Essay ...Bertolt Brecht (1898-1956)
Gliederung: 1. Lebenslauf
1.2 Schaffenszeit in der Weimarer Republik
1.3 Leben im Exil
1.4 Zeit im Nachkriegseuropa
2.2 Das Leben des Galilei
2.3 Geschichten vom Herrn Keuner (die Flut)
1.1 Kindheit und Jugend	-als Eugen Berthold Friedrich Brecht
-10.02.1898 in Augsburg
-Vater: Berthold Friedrich Brecht
-ist Direktor einer Papierfabrik
-Mutter: Sofie Brecht
-umsorgte ihn ständig
-weil: schüchterner kränkelnder Junge
-Volksschule-ganz normaler Junge
-nicht aufgefallen „Muttersöhnchen“
-danach Peutinger-Realgymnasium von 1908 bis 1917
-1914: I.WK bricht aus
-wie fast alle Zeitgenossen: anfängliche Kriegsbegeisterung
-erste Gedichte+ Kurzprosa erscheinen
-in „Augsburger Neusten Nachrichten“
-unter Pseudonym: Berthold Eugen
-keine Infos-ni so schlecht-mit 16!
-änderung der Einstellung
-1916: pazifistischer Schulaufsatz über Horaz
-klar gegen Krieg
-sagte:„Süß und ehrenvoll ist es, für das Vaterland zu sterben“
-im Sinne der dt. Regierung
-Brecht: „Zweckpropaganda“, auf die nur „Hohlköpfe“ hereinfallen
-hat eigentlich Verweis zur Folge, verhindert
-wegen: einflussreiche Stellung des Vaters+ Relilehrer
-einige weiterer Schulverweise
-schloss nur mit Notabitur ab...
Essay on Literary Analysis on Bertolt Brecht ...Cameron Olson
The Brechtian Authority
Bertolt Brecht, a key German dramatist, playwright, poet and director of the twentieth century developed what became known as epic, or nondramatic, theater. Brecht's overall idea was that drama should not model real life, or try to convince audiences that what they are watching is actually occurring, but instead should mimic the art of the epic playwright and simply present a story of past events.
Brecht’s theory is fully explained in A Little Organum for the Theater (1948). A Marxist after the late 1920s, Brecht viewed mankind as victims of capitalist greed, but his skill as a playwright produced characters of unusual depth and dimension. Over the years, many reviews and critical publications have been produced on Brecht’s works, but one authority stands above all others: Eric Bentley.
Eric Bentley is a renowned critic, playwright, singer, editor and translator. He is considered one of the pre-eminent experts on Bertolt Brecht, whose work he has translated. Also, Bentley was chief editor in the Grove Press issuing of Brecht's work and has written many critical books on Brecht, such as The Brecht Memoir, Bentley on Brecht, Brecht Commentaries (1981) and The Brecht-Eisler Song Book (1967). Bentley introduced many European playwrights’ works to the United States and...
[The following remarks are just a few of B.B.'s many on the "alienation effect" (Verfremdungseffekt) that he sought in the creation of his "epic theatre" and the direction of his plays. We'll discuss it in connection with the stagecraft of Arturo Ui when we read that play. But try a thought-experiment. Do any of these remarks seem, uncannily, to apply directly to the character Richard of Gloucester /
King Richard when we meet on the page? ] The following is intended to refer briefly to the use of the alienation effect in traditional Chinese acting. This method was most recently used in Germany for plays of a non-aristotelian (not dependent on empathy) type as part of the attempts being made to evolve an epic theatre. The efforts in question were directed to playing in such a way that the audience was hindered from simply identifying itself with the characters of the play. Acceptance or rejection of their actions and utterances was meant to take place on a conscious plane, instead of, as hitherto, in the audience's subconscious. . . . It is not all that simple to break with the habit of assimilating a work of art as a whole. But this has to be done if just one of a large number of effects is to be singled out and studied. The alienation effect is achieved in the Chinese theatre in the following way. Above all, the Chinese artist never acts as if there were...
Hree Penny Opera by Bertolt Brecht Essay ...Writing a review of Three Penny Opera by Bertolt Brecht
The name of the play that I am going to discuss is “ThreePenny Opera”, by Brecht. IIt is an epic play set in old London where begging is one way of earning money controlled by a corrupt boss who get a lion share of the beggars earnings. I thought at first that the play will be a uninteresting due to simplicity of the settings and costumes but proved to be a wonderful play in
the end. Bertolt Brecht is a German playwright .His plays are often based in reality and reflect today’s society and always with an open ending for the audience to think for themselves what they are going to do if they are in a character’s position. They used their voices to change their tone in other to suit different type of character. Their voices had been used appropriately in different situations. They used their facial expressions, body language, props and their voices changed when a different character changes. You can clearly tell that this kind of character is played because they changed the tone and texture of their voices by impersonating them. In order for the audience to engage in the story the actors used their voices appropriately in a variety of situations, such as narrating a story or giving a character a distinctive accent, changing voice tones depending on the character, like when Mr. Peachum talks about money he uses a sly tone...
Rather than accepting conventional notions of theatre that, to his view, merely pretended to be reality
and sought empathy from the audience, he chose to use it as a political forum, where the audience became critically detached and able to see beyond the stereotypes that prevailed. From these ideas the Epic Theatre movement was born, and with it came a new type of written drama and a new approach to the production of plays.
Growing up in the shadow of World War One as a young Bavarian, Brecht not only realised the futility of war1, but actively avoided it by registering for medical training at Munich University. But medicine was not his calling, and after the war he quickly gained a reputation as an unconventional poet and playwright in Munich and Berlin2. Biblical influences, derived from his Protestant mother, the writings of Karl Marx, and the work of radical Russian director Vsevolod Meyerhold, were amongst the catalysts for an extraordinary shift in the way theatre was to be experienced. Employing concepts of didactisism, historification and alienation, all of...