Brechtian Techniques

Verfrumdungseffekt/ The V Effect/ Distancing/Alienation/De-familiarisation-The actual term translates closely to distancing, not physically like proxemics but mentally so that the audience doesn't feel connected to what they're viewing. This initially causes the audience to question everything they don't understand or don't have the answer to. This technique is very useful when it comes to highlighting a particular point in the piece to emphasise its significance, It doesn't have to be done in an obvious way but it could mean that the particular section is perhaps more heavily lit, slowed down, frozen,just a way to attract more attention to the intended piece. In other case the weird is exaggerated as a way of alienating by making the familiar look strange to make the audience look twice at the situation. I personally think Brechtian techniques have the strength of subverting expectations as the actors are free to play around with the methods and technicality of fulfilling and leaving the hows and whys up to the audience. Of course they have the intentions and ideas for those themes but they aren't obvious and revealed in the performance. De-familiarisation is just another way to remind the audience that in reality they are watching a piece of theatre and are there to enjoy themselves but to question and be inspired by, rather than empathise with. In specific areas the director may decide to spotlight a gesture someone is carrying out; therefore find a way of changing it. For example an important line could be altered through tone, volume or pitch. Alienation gives an audience member enough time to examine and rethink the in-the-moment performance. Bertolt Brecht avoids emotional investment without killing the interest and engagement of the audience. I feel like a lot of Brechtian work is utilised in plays with a parable as it's an exciting way to inspect some crucial topics of social ad political work.

Epic theatre breaks the fourth wall-an imaginary wall between actors and audience which keeps them as observers. They are active members throughout of the theatrical experience as they are kept thinking throughout, not switching off. Brecht encouraged actors to get dressed on stage into any costume for the audience to see.

Placards-

: Taken from BBC Bitesize














Spass- This translates as 'fun'. The whole point and purpose of theatre, without the intentions of educating, is to entertain people! Even if the message itself is serious Brecht realised that comedy could be an excellent way of engaging the audience and forcing them to think about issues. Spass is a method to break tension whenever felt that the audience are falling into the routine of emotional connection. Examples of spass could be: a comic song, slapstick or a stand-up routine. It’s ‘silliness’ in effect but often makes strong social comment in the way it’s used in the treatment of a serious subject.

Gestus- Gestus captures a moment or attitude rather than delving into emotion. Brecht and his actors studied photographs of the plays in rehearsal to ensure each moment worked effectively. Could the audience tell by the actor’s gestures alone what was happening in the scene? Brecht referred to characters by archetypal names such as 'The Soldier' or 'The Girl' ,similar to the time of melodrama when you stuck to one stock character and summed them up with a general name everyone would respond to.