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Gimme Augusto Boal or John Mc Grath anyday TEAM BRECHT!ive got no time for stan's methods, tbf i dont know all his techniques, having done artaud (legend) at AS. theatre is a big mixing pot of methods and i think the most inspirational pieces come from taking a bit out of everything! Brecht- he makes people think and treats them like intellectuals and he has a strong political and social awareness that is vital to his plays.
but i much perfer brecht, he wants to effect change, make things happen, teach you. Physical theatre performances like DV8, productions like the masque of the red death by punchdrunk, and the Argentinian Fuerzabruta are pretty much my favourite productions ever because well... I do like naturalism too, and Stans methods can produce some pretty awe inspiring performances.
stan the man wants you to feel, have a nice jolly time at the theatre, watch a nice play that hes made you reahearse for 2years. im only in year 12 but we got the oppurtunity to watch a brecht play, man equals man, with the upper sixth and i preffered it generally to the stan techniques, it had so much more energy to it it gave me such a buzz i cant wait until next year.
If I wanted to see boring naturalistic real life I'd watch a film or the telly, but theatre is a different medium and we should celebrate that.
Brechtian theatre just sucks all the fun out of it for me - all theatre is inherently political but if it's not entertaining then what's the point.
I've said a lot about emotion, Artaud aimed to transfer emotion, his actors were completely in character, and really feeling the emotions.
If the actor is feeling their character, and their character's emotions the audience will begin to feel these emotions.In eliminating the goal of imaginative suspension, epic theater created more space for an audience member's individual perspective. The suffering of this or that person grips me because there is no escape for him. I am made to cry with those who cry, and laugh with those who laugh. Brecht's interest in epic theater was inspired by his investment in Chinese theater, as well as the work of Karl Marx, author of From these and other predecessors, Brecht learned the importance of distancing the audience from the action onstage—otherwise known as "alienation"—as opposed to imposing some kind of cathartic alignment between performer and audience member. But the theater-goer in the epic theater says: I would never have thought that. this is to me what makes theatre pure escapism: if i wanted a political message i would have gone to a rally. oh also, you can be both teams if your point is valid I'm not on either side.I probably hate Stan less - I actually occasionally use the odd technique of his on certain types of play, but even then they're not much more than common sense.A lot of you have spoken very highly of Artaud, he is also one of my favourite theatre theorists.I see him as the opposite extreme to Brecht, whilst Stanislavski sits in the middle.If this meant making the theatre freezing cold, and dropping drips of water onto his audience; so be it.That is very much external from the actors role, the technical or other sensual aids are just that, aids; they help to emphasise the emotions on stage.The actor almost exaggerates to transfer the vital emotions and feelings appropriately.Artaud's Theatre of Cruelty is the complete opposite of Brecht's Epic Theatre.