Name: ベルトルト・ブレヒトとエピックシアタークラッシュ・コース・シアター#44 (Bertolt Brecht and Epic Theatre: Crash Course Theater #44)
Uploaded: 2021-01-14T08:13:31.000Z
Duration: 11 min 51 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

Hey there, I'm Mike Rugnetta, this is Crash
Course Theater, and today we are hanging with

As theatrical modernists go, Brecht is the
lace to Artaud's leather.

His plays are hugely literary and staunchly
political—surprise surprise!—but they're

also designed to wake up the audience, providing
a more intense and essential vision of reality.

INTRO
Bertolt was born in Augsburg, Germany, in

He studied medicine, but he also took classes
in theater.

And in 1924...
he apprenticed himself to the director Max

His early works were episodic plays about
macho heroes and fragmenting societies in

the expressionist style of Ernst Toller or
Georg Kaiser.

In the late 1920s, he began to work with the
theater director Erwin Piscator, who we briefly

discussed in our episode on expressionism.

One of the first multimedia directors, Piscator
created a theater that was overtly political.

He thought that theater could be a means of
educating the audience.

Brecht combined Piscator's technique with
elements borrowed from cabaret, silent film,

and Shakespeare's history plays to create
his own unique style.

In 1928, he had maybe his greatest success
with “The Threepenny Opera,” a tale of

the criminal underclass, co-written with the
composer Kurt Weill.

This became the runaway hit of Weimar Germany.

Brecht, however, sensed that his politics
weren't a great fit for Nazi Germany.

He left in 1933, first for Denmark, then Sweden
and Finland, and then the United States.

In exile, he wrote several of his major plays,
“Mother Courage and Her Children,” “The

Life of Galileo Galilei,” and “The Good
Person of Setzuan,” and he formally articulated

In 1947, he was summoned before the House
UnAmerican Activities Committee.

But, while he didn't name names, he also
didn't win any popularity contests with

So he left the U.S., ultimately resettling
in East Germany.

Back in Germany, he and his wife, Helene Weigel,
created the Berliner Ensemble, a theater company

that would perform his texts and put his theories
into practice.

Brecht is credited with developing the idea
of “epic theater,” although Piscator used

Epic theater is supposed to be the opposite
of dramatic theater and also the opposite

It's largely achieved using the Verfremdungseffekt
or the V-effekt.

That's often translated as the “alienation
effect,” or the “distancing effect”;

a better translation is “the estrangement
effect.”

Why would you want to estrange or alienate
an audience?

Like a lot of dudes in the non-realist camp,
Brecht worried that conventional plays were

You see a psychologically realistic show,
you have all the feels, and then you leave

the theater mostly worrying about whether
the currywurst stand was still open.

But using theater as mere escape is no way
to topple exploitative capitalism!

Instead, Brecht tried to create plays that
would force an audience to think critical

and uncomfortable thoughts about money, power,
and ethics.

“Art,” he wrote, “is not a mirror with
which to reflect reality, but a hammer with

Yes, this is about waking up an audience.

But it's not about working on an audience's
unconscious and waking them up to myth and

Epic theater is about working on their waking
brains and waking them up to the political

realities just beyond the door of the playhouse.

The appeal is intellectual, not emotional.

There's no crying in Dialectical Materialism.

Brecht believed that an estranged audience
would be forced to engage with a play's

Here's how Brecht put it:
“The dramatic theatre's spectator says:

Yes, I have felt like that too—Just like
me—It's only natural—It'll never change

… I weep when they weep, I laugh when they
laugh.

The epic theatre's spectator says: I'd
never have thought it—That's not the way—That's

extraordinary, hardly believable—It's
got to stop … I laugh when they weep, I

Well, you know how, in most productions, lights,
sounds, sets, costumes, and songs all work

He wanted a theater in which the various elements
wouldn't integrate but actually sort of

cage fight each other, continuously ejecting
the audience from the theatrical illusion.

A good example is in “The Threepenny Opera,”
when the sweet and virginal Polly Peachum

steps out to sing the violent revenge ballad
“Pirate Jenny.”

The audience is supposed to be like, whaaa!?

Brecht also encouraged a style of acting in
which actors don't fully embody characters,

but just sort of gesture at them, often with
an actual repeated, symbolic gesture that

Brecht also provided dialogue in which actors
speak about their characters in the third

He described this model in his essay “The
Street Scene.”

In the essay, he imagined an eyewitness demonstrating
a traffic accident to some bystanders.

The witness doesn't try to fully become
the driver or the victim.

Instead, he gestures at those roles, allowing
the bystanders to make up their minds.

“The actor is not Lear,” Brecht wrote.

Brecht also cut off interest in story or suspense
by describing what would happen at the beginning

of a scene or actually writing it out on a
half-curtain.

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ベルトルト・ブレヒトとエピックシアタークラッシュ・コース・シアター#44 (Bertolt Brecht and Epic Theatre: Crash Course Theater #44)

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