Bertolt Brecht

This Drama and Theatre A-Level section explores the practitioner Bertolt Brecht. Bertolt Brecht (1898–1956) was a German playwright, poet, and theatre director, widely regarded as one of the most influential theatre practitioners of the 20th century. Brecht’s work, particularly his development of Epic Theatre, revolutionised the way theatre was created and perceived. He aimed to provoke critical thinking in the audience, challenging their emotional responses and encouraging them to reflect on social and political issues. Brecht was committed to social change and believed that theatre should be a tool for political education.

Key Concepts and Ideas

Epic Theatre:

Brecht developed the concept of Epic Theatre, which was a departure from traditional forms of theatre such as Aristotelian theatre (focused on catharsis and emotional engagement). Epic Theatre aimed to promote critical thinking rather than emotional involvement. Brecht wanted the audience to adopt a detached, intellectual stance, which would allow them to analyse and reflect upon the issues presented in the play.

Key features of Epic Theatre:

• Narrative Structure: Unlike traditional theatre, which follows a linear, dramatic narrative, Epic Theatre often uses a non-linear structure. This breaks the conventional flow of a story and prevents the audience from becoming too emotionally invested in the characters.
• Alienation Effect (Verfremdungseffekt): Brecht’s concept of alienation or the distancing effect aimed to prevent the audience from identifying too closely with the characters or the plot. This was achieved through techniques such as:
• Breaking the fourth wall: Actors directly address the audience, reminding them that they are watching a play.
• Use of titles and projections: Information and commentary are presented visually on stage to provide context, disrupt the narrative, or highlight the political message.
• Exposing the mechanics of theatre: Stagehands, lighting, and props are often visible, and changes are made in full view of the audience, breaking the illusion of realism.

The Audience's Role:

Brecht saw the audience as active participants in the theatre, not passive consumers of entertainment. Through the alienation effect, the audience was encouraged to critically engage with the performance, questioning the social and political ideas it presented, rather than becoming emotionally involved with the characters.

• Critical Engagement: Brecht wanted the audience to leave the theatre with a new perspective on social issues, encouraging them to reflect and, ideally, take action.
• Political Theatre: Theatre, for Brecht, was not just entertainment but a vehicle for social change. He believed that theatre could promote revolutionary thought and inspire political activism.

Historification:

Brecht often used historical settings to comment on contemporary issues. By distancing the events of the play in time, he allowed the audience to see parallels with their own world, without the emotional bias that might come from a direct, contemporary setting. For example, in Mother Courage and Her Children, the play is set during the Thirty Years' War, but it critiques the brutality and exploitation of war in general, making it relevant to modern audiences.

Epic Characters and Plot:

• Flat Characters: Brecht’s characters were often "flat," rather than the complex, emotionally driven characters of traditional drama. This meant they were more symbolic of particular social forces or ideas. Their actions and motivations were often influenced by the social, political, or economic conditions in which they found themselves, rather than personal psychological development.
• Actions over Emotion: Brecht placed greater emphasis on what characters did, rather than what they felt, to highlight the social and political consequences of their actions.

Verbal and Musical Techniques:

Brecht utilised songs and music in his plays to enhance the political messages and prevent the audience from becoming too emotionally absorbed in the plot. The songs would often:

• Offer commentary on the action, reinforcing the play's themes.
• Disrupt the dramatic flow and bring the audience back into a state of critical reflection.
• Be ironic, contrasting the emotions conveyed by the characters.

For instance, in The Threepenny Opera, the songs reflect on the hypocrisy and corruption of society, creating a clear disconnect between the emotions of the scene and the message Brecht wanted to communicate.

Gestus:

Brecht introduced the concept of gestus, which refers to the physical gestures and mannerisms used by actors to express a character's social position or ideological stance. These gestures are designed to be symbolic and exaggerated, often revealing more about the character's social and political context than their personal emotions. The use of gestus helps create a clear, critical stance on social issues and allows the audience to recognise the larger societal forces at play.

Brecht’s Influence on Modern Theatre

Brecht’s work has had a profound and lasting impact on theatre. His theories have influenced a wide range of theatre practitioners, including:

• Theatre of the Absurd: Playwrights like Samuel Beckett and Eugène Ionesco were influenced by Brecht’s questioning of traditional dramatic structures and his emphasis on the theatricality of performance.
• Political Theatre: Theatre makers and companies focused on social and political activism, such as the Living Theatre and theatre companies in post-revolutionary Cuba, were strongly influenced by Brecht’s emphasis on using theatre as a tool for social change.
• Physical Theatre: Brecht’s use of gestus and focus on non-verbal communication influenced companies like Complicité and Frantic Assembly, who use physical movement as a central part of their storytelling.

Key Works

The Threepenny Opera (1928):

One of Brecht's most famous works, The Threepenny Opera, is a musical that critiques the corruption of capitalist society. It uses a mixture of songs and spoken dialogue, and its characters are symbols of social inequality and exploitation.

Mother Courage and Her Children (1939):

This play is one of Brecht's most powerful critiques of war and its devastating effects on humanity. It tells the story of Mother Courage, a canteen-wagon operator who follows the army during the Thirty Years' War, profiting from the war while losing her children in the process. The play uses historical context to explore the futility and destructiveness of war and the compromises people make in a capitalist society.

The Caucasian Chalk Circle (1944):

This play uses a medieval legend to explore themes of justice, power, and social responsibility. The story of a disputed child custody case is used to examine the way societies determine moral and legal authority, once again using Brecht's technique of historification.

The Life of Galileo (1938):

A historical play that explores the conflict between science and religion, The Life of Galileo tells the story of the famous astronomer’s fight for truth in the face of the Catholic Church’s authority. The play explores how individuals are shaped by social forces and the consequences of standing up for truth in an oppressive society.

Brecht’s Influence on Directors and Theatre Makers

Brecht’s ideas continue to influence directors, playwrights, and companies today. Some key influences include:

• Peter Brook: Brook’s focus on the theatricality of performance and his minimalistic approach to staging can be seen as influenced by Brecht's ideas.
• Joan Littlewood: Littlewood, a British director, was deeply inspired by Brecht’s ideas about political theatre and used his techniques to create an active, engaged theatre that challenged audiences.
• Julie Taymor: Taymor’s visually rich, symbolic style in productions like The Lion King and Titus has been informed by Brecht's emphasis on gestus and symbolic theatre.

Criticisms of Brecht's Theatre

• Alienation Effect: Some critics argue that the alienation effect creates an emotional barrier between the actors and the audience, which can prevent the audience from forming a deep emotional connection with the characters and their struggles.
• Didacticism: Brecht’s focus on political messages and the intellectualisation of theatre has been criticised as overly didactic and possibly reducing the complexity of human experience to simple political statements.
• Lack of Emotional Engagement: Some argue that Epic Theatre’s emphasis on intellectual distance can make it harder for audiences to emotionally engage with the performance, potentially leading to disengagement.

Summary

Bertolt Brecht's Epic Theatre has had a lasting impact on the world of theatre. His radical techniques, such as the alienation effect, historification, and the use of gestus, challenged traditional ideas about theatre and aimed to provoke critical thought and social change. His work continues to influence theatre practitioners around the world, particularly in areas of political theatre, physical theatre, and experimental performance. Brecht’s legacy lies in his belief that theatre should not just entertain but engage audiences intellectually and socially, encouraging them to question the world around them.