By David Ian Rabey (auth.)
Read or Download British and Irish Political Drama in the Twentieth Century: Implicating the Audience PDF
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Additional resources for British and Irish Political Drama in the Twentieth Century: Implicating the Audience
13 From the foundations of Piscator's theories of new theatre design and technical effects, the new role he posited for the audience and the new goals he posited for the author, director and actor, Brecht evolved his additional epic theatre theorizations, and wrote the first major works of dramatic literature specifically conceived with new effects in mind. For Shaw, the audience existed to be educated; for Brecht, to be re-educated. Brecht's early plays are not informed by the same articulated Marxism as his later works, despite his rather strenuous and Learn How To See and Not To Gape 45 uncharacteristically over-serious efforts to suggest so in late theoretical writings, but all of his plays proceed from the observation that 'The bourgeois theatre's performance always aim at smoothing over contradictions, at creating false harmony, at idealization', leading Brecht to write a consciously tougher, more attacking drama.
Cries of exasperation stand where we should hear answers. 4 In contrast to naturalism, epic theatre was designed to be revolutionary and Marxist, fusing corrective injunctions with cries of exasperation, and it required a new, sharper style of theatrical experience to accomplish this. Epic theatre was 'about the extension of the action and the clarification of the background to the action, that is to say it involved a continuation of the play beyond the dramatic framework. A didactic play was developed from the spectacle-play'.
She was drowned while learning to swim, though she'd eaten the rats that were all over us. All those people had the disease. 25 SHLINK: Finally it transpires that Shlink's aggression was a perverse symptom of 'the black plague of this planet, the lust for human contact'. 28 But, like Volpone and the Jew of Malta, Shlink is defeated when his adversary takes his own cynical assumptions one step further and turns them against him; Garga refuses to fight, preferring to survive, leaving Shlink in utter isolation: You never understood what it was all about.