Bertolt Brecht

(redirected from Epic theater)
Also found in: Thesaurus, Encyclopedia, Wikipedia.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.Bertolt Brecht - German dramatist and poet who developed a style of epic theater (1898-1956)
References in periodicals archive ?
The last article, "O teatro atualiza a historia: mediacoes entre o Materialismo Historico de Benjamin e a peca 'Auto dos Bons Tratos', da Cia do Latao", based on epic theater and on the relationship between literature and the processes of historicity, analyzes the play Auto dos Bons Tratos (2002), by Cia do Latao, a representative group within the social and historical context of the remaking of the epic theater in Brazil.
In looking at the Ages as epic theater, therefore, I wish to shift emphasis away from the literary merits of the play (qualities inevitably foregrounded in later published editions and critical commentary) to focus on how the theater, for Brecht, is "conditioned by the question of how, when, and for what class it is made use of.
Inevitably, LAPD invites comparison to Bertolt Brecht's epic theater, or Augusto Boars Theatre of the Oppressed.
El Wewiyeh," (The Jackal), Nagy Souraty's Arabic-language adaptation of Bertolt Brecht's classic work of epic theater "Mother Courage," debuted at Masrah al-Madina earlier this year and has subsequently been revived for a run that ends in mid-March.
To be sure, in chapter four alone, Taylor does not allow time for a full explication of Brecht's ideas of epic theater, choosing to consider instead on how the music and text play off each other in ironic ways, jolting the audience out of emotional involvement.
But the miscellaneous nature of authorial voices and approaches, combined with the lack of any overall arc beyond rough chronological progress, make this not so much epic theater as a very long string of one-offs that emerges as something less than the sum of its parts.
The play doesn't attempt to channel Brecht's epic theater per se; the induced feel of separation is a byproduct of the performers' sheer inability to create a dramatic moment and pronounce Egyptian Arabic.
Summarizing in her introduction Brecht's early familiarity with and rejection of Wagnerian music drama, she concludes that "modernist theater, of which epic theater has long been the standard-bearer, may be the illegitimate child of opera" (p.
Reconstructing the theory of epic theater as an aesthetic of gest, Heinze argues that Brecht's revisions of A Man's a Man in the 1920s gradually incorporate gest, which "shows" social attitudes by communicating contradictions (146).
The "frustrating" describes the way O'Neill's play confronts audiences' expectations about gender and genre as well as performance and politics in the tradition of Ibsen's social realism and along a similar trajectory as Brecht's epic theater.
In particular, he created what he called epic theater in direct contrast to the Aristotelian drama of the age.