By David Barnett
David Barnett invitations readers, scholars and theatre-makers to find new methods of apprehending and utilising Brecht during this transparent and obtainable learn of Brecht's theories and practices. The ebook analyses how Brecht's principles can come alive in practice session and function, and divulges simply how conscientiously Brecht learned his imaginative and prescient of a politicized, interventionist theatre.
What emerges is a nuanced figuring out of Brecht's ideas, his paintings with actors and his ways to directing. The reader is inspired to have interaction along with his approach which sought to 'make theatre politically', so one can have fun with the concepts he brought into his stagecraft. Barnett presents many examples of ways Brecht's principles will be staged, and the ultimate bankruptcy takes a better examine very varied performs: one written by way of Brecht and one by way of a playwright with out stated connection to Brecht. via an interrogation of The Resistible upward thrust of Arturo Ui and Patrick Marber's Closer, Barnett asks how a Brechtian method can liven up and remove darkness from production.
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Additional resources for Brecht in Practice: Theatre, Theory and Performance
Yet because the dialogues are not an acting manual, Buying Brass also asks actors and directors to develop the theoretical positions into forms of practice if they are to stage the work in such a way that it complements the thrust of the arguments. 46 Brecht in Practice Not only dialogues: Buying Brass’s scenes for actors In Brecht’s early plans for Buying Brass as a whole, one section includes material of a different type from that of the dialogues. Here Brecht indicates that he wants to see performances of scenes as a way of demonstrating his ‘thaëter’.
Brecht, in his dialectically re-thought theatre, does not accept this position, even though characters like Shen-Te and Mother Courage end up in despair rather than hope. His theatre has not taught them how to better themselves by bettering their society, but he has given spectators insights into the complex interrelationships between the personal and the social, and has shown how a change in conditions can lead to a change in the characters. Brecht’s wish to teach the audience to think dialectically does not entail a philosophical lesson in theses, antitheses and syntheses.
Brecht also imagined that performance could play an illuminating role in Buying Brass’s dialogues themselves. In one fragment, he gives the stage direction ‘the Actress plays a man’ (Brass 66). The Philosopher initiates the ensuing dialogue by remarking that a man playing a man would not draw attention to the character’s masculinity in the way a woman would. This is because she has to observe what it is that makes a man’s actions different from her own and can then 50 Brecht in Practice emphasize this in performance.