How Did Brecht Influence Greek Theatre

Our play uses variety of styles, mainly Brecht’s epic theatre as our play depicts political message. Our play is structured as montage as it shows different stages of George’s life in a non-chronological order, we effectively did this

Ilkley, Reddington, Bhatti and Gilet executed the Brechtian style of acting almost perfectly. They immediately alienated the audience from feeling any kind of emotional connection to the characters; we were introduced at the very beginning and were constantly reminded of who was who through heightened gestures, vocal changes and direct address. However, Lucky Eric’s daunting monologues, delivered perfectly by Ian Reddington, gave us some sort of emotional connection with the play itself. Godber uses Brecht’s style for more of a comic effect as opposed to snatching away emotional connection. The four actors changed from role-to-role excellently with clear characterisation; Bhatti did outstandingly well in changing from the high-pitched and very girly, Sexy Susie to the low-pitched, macho-aggressive bouncer, Ralph.

Brechts work is based on the concept that theatre is a means of political persuasion for the masses. He sees the theatre as a tool to manipulate the audience, and to influence their day-to-day living once that have thought about issues raised during the performance.

The actors started setting up the world before the play officially started. A couple minutes prior to 7:30 pm, the cast started appearing from the entrances and walking around embodying their characters. They were all committed to their parts and interacted with each other and sometimes the audience members as well. There were beggars asking for money, whores complaining about beggars, and fights breaking out in the isles. It was an interesting concept to have them interact with us and it was definitely a Brechtian technique. The actors continued using the idea of Brechtian theatre within the rest of the production as well. Several times, an actor would talk to the audience and acknowledge their presence as if they were also part of the world. Jonathan Jeremiah Peachum even asked the audience to clap and waited for them to do so. The production became interactive and invited the audience to be its own character. The commitment from all of the characters to really go for it and not hold back was another pleasing feature of the production. An example of this, is when Polly Peachum is lying on the floor in her wedding dress and is violent moving her body and arms. It was strange to see, but also an interesting technique to convey

In examining the development of the German capital Berlin from the late 19th century to the mid-20th century, one could actually develop multiple perspectives of this cosmopolitan city. For instance one could look at the impact of the industrial revolution, the growing form of agriculture, transport, population and also entertainment. To say that these types of perspectives develop in isolation, would be a misunderstanding. A similar thought is expressed in Peter Lavich’s Book Berlin Cabaret, Lavich examines how cabaret forms of musical theatre, in particular, have developed and encapsulated the environment it surrounds its self in. Lavich claims that Berlin cabaret was a 'Metropolitan Montage’. Using Lavich main text and other supporting texts we can begin to understand how cabaret may be considered as a metropolitan montage and why the promotion of artifice and the employment of fragmentation in cabaret can relate to this.

Kristoffer Diaz’s play, The Elaborate Entrance of Chad Deity, is a play that revolves around a character named Mace, and his career as a wrestler in “The Wrestling” league, as Diaz so refers to the American Wrestling Association within the play. Bertolt Brecht, a theatre practitioner, playwright, and poet, was a teenager during World War I in Nazi Germany. He was disgusted by the world around him, as he witnessed many of his friends sent off to die in the war. Because of Brecht’s opinions on the world around him, he negatively viewed the classical form of theater, what he called ‘dramatic theater’, and created a new idea of theater known as ‘epic theater’. I believe Kristoffer Diaz’s play, The Elaborate Entrance of Chad Deity, to be closely

The central idea of the article, Dream Jobs: Movie monster" by Cricket Media, is how actors who play as monsters have to work extra hard to be the monster than the actors of people do. One example from the article is, "Monster costumes can be difficult to move in." This shows that the costumes are hard to put on and its hard to be the monster in the play or movie because its hard to move around. Another example is, "For example, heavy makeup can take hours to put on." This quote shows that you can't just get your costume on and go, you have to get your heavy make up on and that takes a long time and it also makes it harder to act in the play or movie.

Also, the comic operettas of Gilbert and Sullivan (1871-1896) were clever, tuneful and perfectly created – prompting new models of dramatic generation. After Gilbert and Sullivan, the performance center in Britain and the United States was re-characterized – first by impersonation, at that point by development. The best transformation in the American melodic venue up to that time came in 1927 with Show Boat, by Oscar Hammerstein II and Jerome Kern. Here we go to a totally new sort - the musical play as recognized from musical parody. Finally, came the joining of song, comicality and creative production numbers into a solitary and inseparable imaginative element. Here, at last, was a production with a predictable and trustworthy story line, dependable ambiance, and three-dimensional

Theatre did not have much influence on my life yet attending a Broadway musical theatre was one of the top things on my bucket list. Prior to taking this class, the only interaction I had with theatre was back in high school when I joined an Improv club. I was shy and afraid of getting humiliated because I didn't know anything about theatre and I felt like all the people around me are judgmental and unkind. However, they turned out to be more welcoming than my peers in algebra class.

In addition, according to him, Geneva could lead to the “glory of having reformed Europe” (5) since these moral actors would change the way that way that people viewed performers. Only then, D’Alembert claims, would the city “become the seat of decent pleasures, just as it is now the seat of philosophy and liberty” (4). Without the theatre, the city is simply “dull” (4) because of its lack of

The ideas of Bertolt Brecht (1898-1965) changed the theatre in many ways. Brecht along with Erwin Piscator developed the style of Epic theatre style contrasting to previous accepted styles. Presentational in form, Epic theatre is a vehicle for social comment through techniques such as: alienation, historification, eclectic influences (highly Asian), constructivism in scenery, disjointed and illogical scene placement, ordinary clothing and lighting, the use of music to detach the audience from emotion, placards and signs and projected images. Didactic in nature Brecht’s works aim to challenge the

After working for a little amount of time he left because he felt disgusted by the idea of it. He moved on to work first in Munich and then to Berlin, in hopes for a career in theatre. He ended up producing his first play “Baal” in 1923 and first professional production Edward the second in 1924. During this time he had trouble dealing with memories from the war and started to become

Greek drama has influenced acting in the modern world. Greek theaters were shaped in bowls so even the farthest away can hear perfectly. Does the Gillette Stadium come to mind? That stadium is shaped like that thanks to the Greeks. The theaters at the time were outdoors and seats for the viewers didn’t make a 360o view like today if you were to face one side you could see the audience, another side you would see the actual actors themselves.

“In roughly built playhouses and cobblestone inn yards, an extraordinary development took place in England in the 1500s.” (Yancey, 8). At that time, an opportunity combined to produce literature achievement never before witnessed in the history of drama and theater. The renaissance, helped spark this movement by inspiring scientific and artistic creativity throughout the land. Models began writing dramas that portrayed life in both realistic and imaginative ways. This created work later captured the attention of the world that changed the English drama. The many aspects of Elizabethan theater helped to shape the acting and theater world forever.

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