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	SparkNotes: Mother Courage: Context
		A particularly well- known method for such alienation was Brechtian acting technique.
		In the epic theater, the actor would no longer seamlessly efface themselves in their role and "become" their character, but perform both themselves and the character at once.
		Brechtian acting would bring the relation between actor and character to light, forcing, in the name of a higher realism, the audience to examine the artifice of the spectacle and the tensions between its constitutive components.
	www.sparknotes.com /drama/mothercourage/context.html (673 words)

	"Is Race a Trope?": Anna Deavere Smith and the question (Site not responding. Last check: )
		This "naturalistic" approach to acting in North America is, I suggest, one of an array of reasons that the institution of theater, although full of left-leaning, politically radical people, remains for the most part extremely conservative in its envisioning of racial, ethnic, gender, and sexual realities-and more importantly of potential realities not yet created.
		The Naturalistic mantra that "acting is being" is rooted in the liberal humanist belief in a true, core self, from which all doing and perceiving springs.
		Smith's acting approach embraces both sides of this double bind: She brings out of George C. Wolfe's interview two simultaneous views: That racial identify is plural, confusing, absurd, self-contradictory, and that racial identity is--that it is a non-dialectical essence, extraordinary and singular.
	www.encyclopedia.com /doc/1G1-100959606.html (5987 words)

	History and Science
		Acting has remained an art of remembering to the present day, when actors rely on their memories of emotions and sense experiences to perform a reenactment of those feelings on stage.
		Acting as showmanship flourished as the virtuosity and beauty of an individual were emphasized.
		Although serious professional acting declined along with the Roman Empire and was suppressed by the church in the Middle Ages, this "low" acting, practiced by wandering minstrels or mimes, helped to keep the spirit of acting alive.
	www.jinxdavis.com /history_and_science.htm (3519 words)

	Epic theater - Wikipedia, the free encyclopedia
		Acting in epic theater requires actors to play characters believably without convincing either the audience or themselves that they are truly the characters.
		Brecht thought it was important that the choices the characters made were evident, and tried to develop a style of acting wherein it was evident that the characters were choosing one action over another.
		An acting term coined by Brecht is the Gestus: a physical attitude or gesture that represents the character's condition independent of the text.
	en.wikipedia.org /wiki/Epic_theatre (514 words)

	brechtian acting
		Brechtian acting: acting style in which the actors purposefully...
		Brechtian acting acting style in which the actors purposefully try to alienate the audience from the characters in order to constantly remind them they are watching a play, based on the...
		Brechtian acting: acting style in which the actors purposefully try to alienate the audience from the characters in...
	www.actingschoolz.com /acting/brechtianacting.html (662 words)

	DramaWorks > Publications > Styletasters 2
		The Brechtian actor is acting from his reason, his intellect and not from his heart, his emotions.
		Many actors do not feel they are acting unless they become totally immersed in their character and achieve, if possible, the state of 'I am.' "I am' Hamlet, who had a mucked-up childhood losing his father, felt emotionally betrayed by his mother...
		'Acting', in his terminology, is quite different from 'performing', which remains in the realm of professional actors and which no longer really interests him as something for its own sake.
	www.dramaworks.co.uk /styletasters2.html (8421 words)

	Isser/Brecht and Shakespeare
		To avoid emotional empathy and to encourage a critical attitude among the spectators, a new style of acting must be implemented.
		Epic acting techniques and staging devices are intended to make the plays of Shakespeare visceral and compelling for a specific audience at a given time and place.
		Numerous Brechtian staging devices began appearing regularly in British Shakespearean productions: placards and projections; masks for characterization; the half-curtain and the revelation of stage mechanisms; and the developed relationship between actors and their props.
	www.holycross.edu /departments/theatre/eisser/BrechtianShakespeare.html (2842 words)

	Theater terms
		Brechtian acting: acting style in which the actors purposely try to alienate the audience from the characters in order to constantly remind them they are watching a play, based on the theories of Bertolt Brecht
		Distanciation: In Brechtian performance, when actors maintain distance from their character by reminding the audience through often stylized gestures or behavior that they are simply people pretending, instead of trying to identify with their "character".
		Emotional memory: In Method acting, when an actor attempts to draw upon memories of prior emotions to match the emotions of their character.
	www.dejavu.org /cgi-bin/get.cgi?ver=93&url=http%3A%2F%2Farticles.gourt.com%2F%3Farticle%3DTheater_terms%26type%3Den (2189 words)

	Theater terms (Site not responding. Last check: )
		Brechtian acting : acting style in which the actors try to alienate the audience from the in order to constantly remind them they watching a play based on the theories Bertolt Brecht
		Distanciation : in Brechtian performance when actors maintain from their character by reminding the audience often stylized gestures or behavior that they simply people pretending instead of trying to with their "character".
		Method acting : acting style in which the ideal a "true"(or "real") moment or impulse valued most highly; the actors try to the emotions of the character so that actors' choices and the characters' would be one---i.e.
	www.freeglossary.com /Acting_terms (1607 words)

	Arvada Center for the Arts and Humanities: Performing Arts Terminology (Site not responding. Last check: )
		acting style in which the actors purposefully try to alienate the audience from the characters in order to constantly remind them they are watching a play, based on the theories of Bertolt Brecht.
		Typically in theater, the stage manager acts as an adjunct to the director in rehearsal, recording the blocking and seeing that cast members stay on script, have necessary props, and follow the blocking.
		As the lighting and sound cues are developed, the Stage Manager meticulously records the timing of each as it relates to the script and other aspects of the performance.
	www.arvadacenter.org /perform/glossary.php (1088 words)

	[No title]
		So the first part is Act 1, the second Act 2, and so on.
		Acting Area The area of the stage setting within which the actor performs.
		Acting Versions Published scripts which include notes from previous productions of the show - first appeared in England in the 18th century.
	www.dramatic.com.au /glossary/glossarya_d.htm (5103 words)

	Modern Drama: Bertolt Brecht on "Alienation Effects in Chinese Acting" (Site not responding. Last check: )
		Actors should be like the eyewitness who "acts the behaviour of driver or victim or both in such a way that the bystanders are able to form an opinion about the accident."(1)
		Toward the same end, the Brechtian stage is bathed in light, with the sources of light visible to the public; the backdrop is also simple, sparse, and nonillusionistic.
		Similarly, musical numbers, announced in advance, further break the illusion of a realistic action; musicians usually sit on the stage in full view of the audience and actors break the spell of their songs with asides directed to the audience.
	newman.baruch.cuny.edu /digital/2000/c_n_c/c_09_modern_drama/bertolt_brecht.htm (1723 words)

	Al-Ahram Weekly \| Culture \| Making brutes of us all
		In her zeal to get them back to life, she launches a mournful threnody in which she remorsefully recounts all her deadly sins, from the parental view point, and vows repentance; the sins ridiculously range from sitting at table without washing her hands to falling in love and having political opinions.
		The act of recounting the long list of sins gradually alerts the declaimer to the enormity of the injustice inflicted upon her by the deceased and this is visually translated into her physical drawing away from them and by marked shifts in her vocal intonation.
		This scene in which the dumb brute, the alien, human underdog, literally embodied in a concrete, visual metaphor, is made to realise the roots of her oppression, replays the scene of the son's departure in a different, but equally sombre and emotional key.
	weekly.ahram.org.eg /2005/735/cu1.htm (886 words)

	a question abt BRECHT (tracer hand to thread among others) (Site not responding. Last check: )
		Acting was a skill, a craft, a job, not a place to let your actual real human feelings gush around all over the place (or if you did, it was as a parlor trick).
		Another part of the Alienation Effect was 'acting in the third person': the actor makes it clear to the audience that s/he is not the character, but is commenting on the character.
		extrapolation from thomson's argt: brechtian 'distancing' from bourgeois emotion-wringing blah blah actually made it harder to grasp properly that the single repeating problem in godard's films is his inability to feel, ever: a founding flaw is constantly presented as a political triumph..
	ilx.wh3rd.net /thread.php?msgid=4011223 (6967 words)

	17th, 20th or 21st century -- it's all the same in war time
		Tough, confrontational and uncompromisingly intelligent, it's a vigorous concoction of brilliant acting, incisive prose, trenchant music and densely layered presentation in the service of the greatest anti-war drama of the 20th century (an accomplishment all the more impressive considering that the same category includes George Bernard Shaw's "Heartbreak House").
		Instead of traditional Brechtian projections, the titles of scenes and songs, as well as scene-setting or interpretative information, is proclaimed by the actors and scrawled in chalk all over the rear wall.
		Alexander Nichols alternates between bathing the stage in Brechtian flat white light, isolating action in sharp spots and highlighting Brecht's sardonic lyrics with strings of mock-festive white Christmas lights.
	www.sfgate.com /cgi-bin/article.cgi?file=/c/a/2006/09/15/DDGCHL57KM1.DTL&type=printable (874 words)

	The Wildest Dreams
		As a matter of fact, the only thing she does have time for, in between studying for physics and other tests, is inventing weird machinery like her bug zapper, a device which uses high frequency sound waves to scare away insects.
		In a very Brechtian scene, Alice and Dan make a trip to Kristen's house three times, repeating almost exactly the same dialogue and gestures, and the scene is shot each time in the same way.
		In an interesting and well acted moment, she tells her father that she's sick of him "drinking [his] life away and taking it out on her, after slamming his dinner down on the table.
	pages.emerson.edu /organizations/fas/latent_image/issues/1997-04/dreams.htm (3144 words)

	The Film Journal...Passionate and informed film criticism from an auteurist perspective.
		It is practically impossible to create a new acting style which excludes the direct address to the audience." Here, in his insistent focus on acknowledging the spectator and thus preventing her passive submersion in the drama's ostensibly real fictional universe, Welles certainly sounds somewhat Brechtian in his thought.
		In addition though, beyond the relative Brechtian or anti-Brechtian elements of Welles' acting, a variety of further influences, ranging from the practices of 19th Century melodrama and Shakespearean performance, to Stanislavskian-based Method acting, can also at times be discerned in his style.
		In fact, his specific acting process might even be understood as yet another example of his status as visionary innovator, allowing him to point out and to celebrate the very postmodern notion of the performative nature of identity years before it became a cultural commonplace.
	www.thefilmjournal.com /issue9/wellesperformance.html (4987 words)

	Arvada Center for the Arts and Humanities: Performing Arts Terminology (Site not responding. Last check: )
		acting style in which the actors purposefully try to alienate the audience from the characters in order to constantly remind them they are watching a play, based on the theories of Bertolt Brecht.
		Typically in theater, the stage manager acts as an adjunct to the director in rehearsal, recording the blocking and seeing that cast members stay on script, have necessary props, and follow the blocking.
		As the lighting and sound cues are developed, the Stage Manager meticulously records the timing of each as it relates to the script and other aspects of the performance.
	www.arvadacenter.com /perform/glossary.php (1088 words)

	The Dresden Dolls - Album Reviews (Site not responding. Last check: )
		The Boston duo's self-described "Brechtian punk cabaret" invited the thrill of voyeurism, and not merely because of Amanda Palmer's intense confessionals.
		At no time was the duo laid more bare than during the instrumental excursion leading into the song "Half Jack." Generating as much energy as three stages of guitar bands, Palmer and Viglione played raptly to each other, pianist and drummer matching lick for sensual lick.
		To Palmer's chanteuse, Viglione played mime, acting out her missives between riffs and putting a face to the songs' exposed nerves.
	www.dresdendolls.com /press/live.reviews/latimes.1205.htm (343 words)

	brechtian acting
		com BrainyEncyclopedia Brechtian acting Bertolt Brecht was a theatre practitioner who grew up in Germany and studied medicine before becoming interested in the social and political...
		Chaplin was Brecht's favourite actor and a model for Brechtian acting, and when Beckett made his only film he chose Buster Keaton, then very...
		Rohaizad finds some similarity between Asian traditions, and Brechtian acting techniques; One example he uses is, "addressing spectators directly, and acknowledging their presence in...
	www.acting-camps.com /directory/brechtian-acting.html (242 words)

	Realism vs Epic Play
		Realism focuses upon method acting, which means the actors became the characters, and creating a piece of theatre that rings true of life itself, whereas Brechtian acting demands a distinct detachment between the actor and the character.
		Brechtian theatre was in fact labelled 'epic' because his plays consisted of broad historical and social backgrounds in their narratives.
		The Steppenwolf Theatre Company, aiming to focus upon the art of acting, easily chose to present The Grapes of Wrath in their 1988 season because the method acting technique (used it realism) was integral to the play.
	www.usq.edu.au /performancecentre/education/thegrapesofwrath/realism.htm (548 words)

	if ( ) then ( ) else ( )
		The idea behind using the computer aesthetic was to evoke a sense of realism on screen in the Brechtian sense, i.e.
		In doing so the user is acting in a manner analogous to a Brechtian spectator who must ideally oscillate between an engagement with, and a critical removal from, a dramatic presentation.
		The Brechtian style approach of the computer aesthetic is in contrast to the naturalistic style of the home-video aesthetic.
	www.mee.tcd.ie /~conwayf/ifthenelse/pages/film.html (395 words)

	Brechtian acting Details, Meaning Brechtian acting Article and Explanation Guide
		Bertolt Brecht was a theatre practitioner who grew up in Germany and studied medicine before becoming interested in the social and political effects of theatre.
		For example Brechtian actors stepped in and out of role, often commented on the action, played multiple roles, spoke in third person at times and directly addressed the audience - all to remind them of the presence of the actors beneath the performance.
		In Brechtian theatre the issues under debate are far more important than the emotional concerns of the hero/ine and the plotline.
	www.e-paranoids.com /b/br/brechtian_acting.html (402 words)

	Title page for ETD etd-08192003-091215
		The purpose of this essay is to indicate the Brechtian elements of Michael Frayn's Copenhagen.
		This essay departs from other scholarship in that it shows the ways that Copenhagen works in the Brechtian mode, which is far from new.
		This essay also shows the ways in which the goals of Brechtian theatre were accomplished through Copenhagen.
	www.lib.ncsu.edu /theses/available/etd-08192003-091215 (155 words)

	Grandena on Leigh
		Here, it is mostly the Brechtian use of songs and music that is analysed: Leigh underlines the spectatorial emotional disruption that is provoked by sound/song juxtapositions or interruptions.
		The author also pays attention to other Brechtian and Godardian influences, such as the combination of individual drama, social analysis, fractured narratives, and some non-naturalist acting techniques (such as addressing the camera).
		Aiming at a large audience, their target was to 'balance a sense of events, institutions and policies with a story about individuals whose emotions and experiences are engaging' (166).
	www.film-philosophy.com /vol8-2004/n3grandena (1882 words)

	Theatre Arts Course Offerings
		An exploration of human intention, as revealed in behavior, to be accomplished through a study of the techniques of acting, the interpretation of scripts, and the analysis of character.
		The aim of this course is to help advanced acting students develop the knowledge, sensitivities, and skills needed to act in plays in which dramatic action and thematic content must be carried primarily through an active and richly textured speaking of the text.
		An advanced study in styles of acting and the development of a character.
	www.csuchico.edu /catalog/cat03/programs/thea/course.html (2550 words)

	Manderlay (2005) (Site not responding. Last check: )
		Von Trier has cited German playwright Bertolt Brecht (right) as an artistic inspiration; yet one may wonder if he is reinventing the Brechtian wheel, one that Brecht himself admitted did not turn for others as he had wished.
		On one level, the film is set in 1930s Alabama, on a plantation called Manderlay, where 70 years after the Emancipation Proclamation, slavery is apparently still being practiced.
		All of these aspects should be considered through the lens of his Brechtian alienation techniques.
	akas.imdb.com /title/tt0342735 (1109 words)

	DR-Glossary
		Refers to Stanislavskian acting technique in which an actor recreates an emotion on stage by remembering a parallel experience in his or her life.
		It is essentially by means of structure, staging, and acting that alienation is effected; it is for the purpose of alienation that Brechtian structure, staging, and acting are what they are.
		Brechtian acting technique in which actors do not fully identify with their characters (cf.
	www.fb10.uni-bremen.de /anglistik/kerkhoff/ContempDrama/DR-Glossary.htm (5834 words)

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