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Exploring Distancing in the Work of Dorothy Heathcote: Estrangement As Poetic Distortion
ISSN 2040-2228 Vol. 5 No. 1 April 2014 Drama Research: international journal of drama in education Article 1 Exploring distancing in the work of Dorothy Heathcote: Estrangement as poetic distortion Stig A. Eriksson National Drama Publications www.dramaresearch.co.uk [email protected] www.nationaldrama.org.uk Drama Research Vol. 5 No. 1 April 2014 Exploring distancing in the work of Dorothy Heathcote: Estrangement as poetic distortion ____________________________________________________________________ Stig A. Eriksson Abstract This article introduces the reader to a range of terms that have historically been applied to the notion of distancing, which in the author’s view was a major component of Heathcote`s work. These terms have emerged from various artistic and theoretical positions, particularly in Romanticism and Modernism. They include estrangement, ostranenie, Verfremdung, Entfremdung, and apostasiopoiēsis. Across the literature they have at times become tangled and misunderstood, resulting in unfortunate and confusing applications. To support a clearer understanding of distancing within Heathcote’s work, a historical survey of these terms is first offered. The article then moves on to consider Heathcote’s own thoughts about distance creation and especially estrangement and distortion. It concludes by suggesting the term poetic distortion as an appropriate way of describing her approach. Article 1 Exploring distancing in the work of Dorothy Heathcote: Estrangement as poetic distortion 2 Drama Research Vol. 5 No. 1 April 2014 Introduction In my doctoral dissertation, Distancing at Close Range (Eriksson 2009), distancing is presented as a poetic device as much as a pedagogical strategy, a dramaturgical convention as much as an acting technique, an aesthetic attitude as much as an aesthetic tradition. -
What to Do with Gestus Today Version II
Abstract This thesis explores the common and dialectical features of pedagogy, Bertolt Brecht’s Gestus, and identity construction. It speaks from the perspectives of pedagogue, actor and subject. It argues that in each of these modes the subject is necessarily engaged in both an ontological dilemma and opportunity, which is performative. It exposes embodiment as an oscillatory process of absence and presence. This is predicated on the impossibility of arriving at a fixed notion of being in the world. The thesis is set within an autobiographical frame. First because each mode marks an encounter in the life of Rob Vesty, and second because the practice-based-research uses autobiographical performance. It advances by constructing a piece of performative writing, an autobiographical timeline, to affect an experience of the practice, which informs this thesis. This piece introduces a montage of three juxtaposing studies. The first draws on Rob Vesty’s work in TIE with Splendid Productions and uses the company’s 2007/2008 performance and workshop tour of Brecht’s The Good Woman of Szechuan. It argues that a dialectic, rather than didactic, process must occur in the pedagogic setting and that this is dependent on the presence of a creative gap produced by a strong aesthetic. The second study then argues that the Gestic actor embodies and ‘writes’ this creative gap in a parodic way and that a virtue is made of showing its construction. The final study turns to Rob Vesty’s (2008) solo theatre show – One Man Good Woman – to chart the way identity impacts upon autobiography. It argues that the ‘written’ nature of autobiography and identity renders the subject both absent and present and retains dialectical features in its construction. -
The Impact of Brechtian Theory on the Production and Performance of 1789 by Ariane Mnouchkine’S Théâtre Du Soleil
Opticon1826, Issue 10, Spring 2011 THEATRE FOR THE PEOPLE: THE IMPACT OF BRECHTIAN THEORY ON THE PRODUCTION AND PERFORMANCE OF 1789 BY ARIANE MNOUCHKINE’S THÉÂTRE DU SOLEIL By Agnieszka Karch Ariane Mnouchkine is a contemporary French theatre director, associated with the Théâtre du Soleil, known for its ‘activism, formalism and cosmopolitanism’ (Singleton 2010, 29). Her theatre, made by the people and for the people, breaks with the traditional perception of theatre as elitist. Her revolutionary status in the profession can be explained through her belief in the power of collaborative theatre (création collective) as the most democratic art form, capable of dealing with political questions. The redistribution of the power of decision-making in the process of production and staging can be seen as a metaphor of a political system based on civic participation. Mnouchkine’s theatre teaches the audience how to react critically to what is being observed, and to translate this reaction into political activism and participation, in shaping their community. One of the central elements of her philosophy is to make the spectators aware of their potential to participate in the process of change. Instead of passively witnessing the unfolding of political and social events, citizens should feel encouraged to act and to note their personal impact on history. Such an approach is almost certainly inspired by the work of an earlier artist whose creation also falls into the category of political theatre – that of Bertolt Brecht. Brecht was known for having coined the term Verfremdung, crucial in achieving a critical response, and which can be described as the opposite of the suspension of disbelief, commonly cited as a requirement for most forms of entertainment.1 In the Brechtian epic theatre, the spectator must be aware of the fictional character of the play. -
Adaptation in Postdramatic Theatre
(Re)presenting drama: adaptation in postdramatic theatre by Samuel Bicknell A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY Department of Drama and Theatre Arts School of English, Drama, American and Canadian Studies College of Arts and Law The University of Birmingham July 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines three adaptations of dramatic texts for postdramatic performance by two experimental theatre companies: the Wooster Group’s L.S.D. (1984) and Brace Up! (1991), and La Fura dels Baus’ F@ust 3.0 (1998). Of particular significance to this study is the notion that these companies do not simply restage the texts they engage with in lieu of creating new and original material, nor do they only present a “version” of the texts in their own aesthetic style. Instead both companies self-consciously explore their personal relationship with dramatic text by making the processes of adapting and interrogating the material the theme of their performance. This is achieved by juxtaposing the text against a landscape of newer media and digital technologies which complicate the traditional forms of mimetic representation found in the purely dramatic text. -
Emotion and Prosocial Change in Brecht's Theatre
AFFECT FOR EFFECT: EMOTION AND PROSOCIAL CHANGE IN BRECHT’S THEATRE by Alex James Hartzell Knapp BPhil, Theatre Arts & Psychology, University of Pittsburgh, 2018 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Bachelor of Philosophy University of Pittsburgh 2018 UNIVERSITY OF PITTSBURGH Dietrich School of Arts and Sciences This thesis was presented by Alex James Hartzell Knapp It was defended on March 30th, 2018 and approved by Cynthia Croot, M.F.A., Associate Professor, Department of Theatre Arts Rhonda Blair, PhD, Professor, Division of Theatre, Southern Methodist University Committee Co-Chair, Thesis Advisor: Sara B.T. Thiel, PhD, Visiting Assistant Professor, Department of Theatre Arts Committee Co-Chair, Thesis Advisor: Lisa Jackson-Schebetta, PhD, Assistant Professor, Department of Theatre Arts ii Copyright © by Alex Knapp 2018 iii AFFECT FOR EFFECT: EMOTION AND PROSOCIAL CHANGE IN BRECHT’S THEATRE Alex Knapp, BPhil University of Pittsburgh, 2018 In this thesis, I meld theories of emotional expressiveness with concepts of Brecht’s dialectical theatre to examine the potentiality of fomenting prosocial change in spectators. I ask how Brecht’s theatre can become a more efficacious prosocial tool in cultures and communities. On Brecht’s stage, theatrical elements coalesce and collide with an emphasis on the social conditions of contradiction. This dissonance is embodied for both actor and spectator to actively critique during performance and promote synthesizing social transformation. For instance, Brecht’s concepts of Gestus and Haltung manifest both as the representation of role in society and the social contradiction of external human relations. -
Bertolt Brecht - Poems
Classic Poetry Series Bertolt Brecht - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Bertolt Brecht(10 February 1898 – 14 August 1956) Eugen Berthold Friedrich Brecht; was a German poet, playwright, and theatre director. An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble — the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel. <b>Life and Career</b> Bavaria (1898–1924) Bertolt Brecht was born in Augsburg, Bavaria, (about 50 miles (80 km) north- west of Munich) to a conventionally-devout Protestant mother and a Catholic father (who had been persuaded to have a Protestant wedding). His father worked for a paper mill, becoming its managing director in 1914. Thanks to his mother's influence, Brecht knew the Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama. Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied. At school in Augsburg he met Caspar Neher, with whom he formed a lifelong creative partnership, Neher designing many of the sets for Brecht's dramas and helping to forge the distinctive visual iconography of their epic theatre. When he was 16, the First World War broke out. Initially enthusiastic, Brecht soon changed his mind on seeing his classmates "swallowed by the army". -
A Discussion of the Role of Epic Music in Bertolt Brecht's Plays. Mphil(R) Thesis
Rambo-Hood, Markee H. (2009) What a difficult task it is for music to fulfil the demands of an epic theatre: a discussion of the role of epic music in Bertolt Brecht's plays. MPhil(R) thesis. http://theses.gla.ac.uk/2298/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] What a Difficult Task it is for Music to Fulfil the Demands of an Epic Theatre: a Discussion of the Role of Epic Music in Bertolt Brecht‟s Plays. By Markee H. Rambo-Hood Master of Philosophy University of Glasgow: Faculty of Arts and Humanities Theatre Studies Submitted September 2009 © Markee H. Rambo-Hood, September 2009 I would like to thank my advisors Anselm Heinrich and Vicky Price for all of their feedback, knowledge and confidence in my ability to complete this research. Their support has allowed me to grow and exceed past my own expectations. I would also like to thank Stefani Walens for her encouragement, amazing piano skills and for introducing me to Weill and Brecht. -
Brechtian/Feminist Pla Ywrighting: the Appropriation and Expropriation of Form
BRECHTIAN/FEMINIST PLA YWRIGHTING: THE APPROPRIATION AND EXPROPRIATION OF FORM By MERRYNJOHNS A thesis submitted in fulfilment of the requirements for the Degree of Master of Arts (Honours) School of Theatre and Film Studies University of New South Wales February 1995 CERTIRCATE OF ORIGINALITY I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of a university or other institute of higher learning, except where due acknowledgement is made in the text_ (Sig TABLE OF CONTENTS ABSTRACT ACKNOWLEDGEMENTS 11 INTRODUCTION CHAPTER ONE: Appropriating Brecht: The Possibilities of a Feminist Gestus 14-30 CHAPTER TWO: Historicism, Histrionics, and Herstory: Reconstructing the Female Historical Subject 31-54 CHAPTER THREE: Mimesis, Myth, and Truth: Deconstructing the Oedipal Narrative 55-71 CHAPTER FOUR: The Dialectics of Emotions: Conflating the Brechtian and the Feminist 72-91 CHAPTER FIVE: Breaking Frames: Pornography, Psychoanalysis, and Narrativity 92-120 CHAPTER SIX: Performing Bodies, Multiple Signs: The Pleasure of the (Feminist) Text 121-143 CONCLUSION 144-148 BIBLIOGRAPHY 149-161 ERRATA p.6, footnote: for "Silva" read "Silvia" p.8, 1.27: for "de Lauretis" read "De Lauretis" p.21, 1.19: for "steretypical" read "stereotypical" p.22, 1.3: for "inscribe" read "ascribe"; 1.6 delete "through" p.23, 1.1: for "feminisng" read "feminising"; 1.2: for "involed" read "involved" p.24, 1.2: for "indicates" read "indicate" p.29, I. -
The Role of the Merchant in Bertolt Brecht's the Exception and The
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2007 The oler of the merchant in Bertolt Brecht's The Exception and the Rule: a production thesis in acting Mark Jaynes Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Theatre and Performance Studies Commons Recommended Citation Jaynes, Mark, "The or le of the merchant in Bertolt Brecht's The Exception and the Rule: a production thesis in acting" (2007). LSU Master's Theses. 1508. https://digitalcommons.lsu.edu/gradschool_theses/1508 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ROLE OF THE MERCHANT IN BERTOLT BRECHT’S THE EXCEPTION AND THE RULE: A PRODUCTION THESIS IN ACTING A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Fine Arts in The Department of Theatre by Mark Jaynes B.A., Western Michigan University, 2004 May 2007 ACKNOWLEDGMENTS To acknowledge everyone I want to acknowledge would constitute an entire thesis itself and still I’d surely forget too many. I’ve probably already thanked those people to their faces anyway. If I haven’t I will. So I will instead focus on acknowledgments for this production solely. -
Brecht and Cabaret
3 OLIVER DOUBLE AND MICHAEL WILSON Brecht and cabaret One of the most popular anecdotes about Brecht’s early years in Munich involves a significant encounter with the popular comedian Karl Valentin (1882–1948). In October 1922, following on from the success the previous month of the première of Drums in the Night at the Munich Kammerspiele, Brecht was appointed to the dramaturgical team of the theatre and was immediately given the task of rewriting and adapting Marlowe’s Edward II. The writing took place over the winter of 1922/3, but the eight-week rehearsal period, then the longest in the Kammerspiele’s history, did not start until January 1924. In one of his conversations with the essayist and critic Walter Benjamin on 29 June 1938, Brecht told the story of how ‘the idea of Epic Theatre first came into his head’ at one of these rehearsals: The battle in the play is supposed to occupy the stage for three-quarters of an hour. Brecht couldn’t stage manage the soldiers, and neither could Asya [Lacis], his production assistant. Finally he turned in despair to Karl Valentin, at that time one of his closest friends, who was attending the rehearsal, and asked him: ‘Well, what is it? What’s the truth about these soldiers? What about them?’ Valentin: ‘They’re pale, they’re scared, that’s what!’ The remark settled the issue, Brecht adding: ‘They’re tired.’ Whereupon the soldiers’ faces were thickly made up with chalk, and that was the day the production’s style was determined.1 A few years later, Brecht himself wrote a version of the same story in The Messingkauf Dialogues: ‘When the Augsburger was producing his first play, which included a thirty minutes’ battle, he asked Valentin what he ought to do with the soldiers. -
Bertolt Brecht's the Caucasian Chalk Circle
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2013 A Metonymic Translation: Bertolt Brecht’s The Caucasian Chalk Circle Xiaoqing Liu Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/facsch_papers Part of the Translation Studies Commons Recommended Citation Liu, Xiaoqing, "A Metonymic Translation: Bertolt Brecht’s The Caucasian Chalk Circle" Translation: A Transdisciplinary Journal / (2013): 133-158. Available at https://digitalcommons.butler.edu/facsch_papers/848 This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. A Metonymic Translation: Bertolt Brecht’s The Caucasian Chalk Circle Liu Xiaoqing The Caucasian Chalk Circle is one of the most important works of the German playwright Bertolt Brecht (1898–1956). It is also one of the most widely performed modern plays in the West. However, this critically acclaimed play is not purely Brecht’s “originality” but is indebted to an ancient Chinese play, Li Xingdao’s Hui Lan Ji ♄䯥䆄 (The Story of the Circle of Chalk).1 Brecht acknowledged his adaptation in the prologue of The Caucasian Chalk Circle in the voice of the singer: “It is called ‘The Chalk Circle’ and comes from the Chinese. But we’ll do it, of course, in a changed version” (Brecht 1983, 126). The “changed version” Brecht made was for the Broadway stage during his exile in America. -
The Meaning in Mimesis: Philosophy, Aesthetics, Acting Theory
The Meaning in Mimesis: Philosophy, Aesthetics, Acting Theory by Daniel Larlham Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Daniel Larlham All Rights Reserved ABSTRACT The Meaning in Mimesis: Philosophy, Aesthetics, Acting Theory Daniel Larlham Theatre as mimesis, the actor as mimic: can we still think in these terms, two and a half millennia after antiquity? The Meaning in Mimesis puts canonical texts of acting theory by Plato, Diderot, Stanislavsky, Brecht, and others back into conversation with their informing paradigms in philosophy and aesthetics, in order to trace the recurring impulse to theorize the actor’s art and the theatrical experience in terms of one-to-one correspondences. I show that, across the history of ideas that is acting theory, the familiar conception of mimesis as imagistic representation entangles over and over again with an “other mimesis”: mimesis as the embodied attunement with alterity, a human capacity that bridges the gap between self and other. When it comes to the philosophy of the theatre, it is virtually impossible to consider the one-to-one of representation or re- enactment without at the same time grappling with the one-to-one of identification or vicarious experience. TABLE OF CONTENTS Introduction: The Meanings in Mimesis 1 1. Embodying Otherness: Mimesis, Mousike, and the Philosophy of Plato 18 2. The Felt Truth of Mimetic Experience: The Kinetics of Passion and the “Imitation of Nature” in the Eighteenth-Century Theatre 81 3. “I AM”; “I believe you”: Stanislavsky and the Oneness of Theatrical Subjectivity 138 4.