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Topic: Verfremdungseffekt

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	Bertolt Brecht - Wikipedia, the free encyclopedia
		Such filmmakers as Rainer Werner Fassbinder and Jean-Luc Godard were influenced by Brecht and the Verfremdungseffekt.
		Brecht created an influential theory of theatre, the so-called epic theatre, wherein a play should not cause the spectator to emotionally identify with the action before him or her, but should instead provoke rational self-reflection and a critical view of the actions on the stage.
		For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself, which he called the Verfremdungseffekt (translated as distancing effect, estrangement effect, or alienation effect).
	en.wikipedia.org /wiki/Bertolt_Brecht (1995 words)

	Interactive Archive: Bertolt Brecht (Site not responding. Last check: 2007-10-12)
		In the United States, Brecht is often taught in a way that tries to unify his thought, his theory, and his praxis instead of pointing out the inconsistencies which he himself acknowledged.
		The Verfremdungseffekt is hammered into students heads with perhaps a dutiful discussion as to whether Verfremdung should be translated as "estrangement" or "alienation" or if it even should be translated at all.
		Certainly the theory behind Verfremdungseffekt has provoked and stimulated countless playwrights and directors in the second half of the twentieth century with invaluable results.
	www.alternativetheater.com /cgi-bin/int_archive/entry_index.cgi?ARC_ID=00029 (226 words)

	Learn more about Bertolt Brecht in the online encyclopedia. (Site not responding. Last check: 2007-10-12)
		Brecht died an early death at the age of 58 in 1956 (of a heart attack), leaving a legacy which has been taken up by nearly every country in the world, particularly those where political activity is occurring.
		His humour and scepticism combined with gestic and epic techniques, and what he called the Verfremdungseffekt (alienation effect), have proven as fruitful as confusing to those who try to produce his works or in his style.
		Brecht was famously known for breaking the fourth wall, drawing his audiences attention to the fact that they are in a theatre watching a play.
	www.onlineencyclopedia.org /b/be/bertolt_brecht.html (1263 words)

	village voice > theater > 'Mother Courage' by James Hannaham
		Brecht considered his famed and frequently misinterpreted experiments with the Verfremdungseffekt, which translates as "alienation effect," something of a failure.
		Her actions often run contrary to human nature (what real mother would negotiate the price on her son's head?) so that as we stand in judgment of her, we engage in a philosophical debate about her circumstances rather than becoming involved in a simulacrum of her emotional journey.
		Ma-Yi, unfortunately, adds unwanted Verfremdungseffekt in the form of Ching Valdez-Aran, whose performance as Mother Courage is as alienating as the character herself.
	www.villagevoice.com /theater/9934,hannaham,7843,11.html (655 words)

	[No title]
		The confrontation of the audience with characters and happenings which they are not quite able to comprehend makes it impossible for them to share the aspirations and emotions depicted in the play.
		Brecht’s famous Verfremdungseffekt (alienation effect), the inhibition of any identification between spectator and actor, which Brecht could never successfully achieve in his own highly rational theater, really comes into its own in the Theater of the Absurd.
		It is impossible to identify oneself with characters one does not understand or whose motives remain a closed book, and so the distance between the public and the happenings on the stage can be maintained.
	english.uindy.edu /english_331_docs/esslin_theater_of_absurd.doc (773 words)

	THEA 143: Development of Dramatic Art II: Galileo: Ill-Suited
		Brechtian style emphasized the verfremdungseffekt, or the alienation effect which called for actors to withhold themselves from fully becoming their characters.
		As a part of allowing the audience to see the show as a show, or allowing them to “see the frame” of the production, actors were instructed to perform in a manner that “conveyed the awareness of being a performer rather than the involvement of being a character (p.
		But I take issue with what seems to be your underlying assumption that Brechtian distance - the verfremdungseffekt - is mutually exclusive with emotional involvement.
	dda2.blogspot.com /2005/10/galileo-ill-suited.html (556 words)

	Observer Newspaper - Scene
		Brecht used a technique he called "Verfremdungseffekt" to remind the audience that they were watching a play.
		This "alienation effect," as it is called in English, was a rejection of the Aristotelian dramatic premise that the audience should believe that the events they are watching are unfolding in time before their eyes.
		This idea even fails as "Verfremdungseffekt;" the FTT show is too highly produced to even consider rejecting the ideal of portraying reality on stage.
	www.nd.edu /~observer/04192002/Scene/0.html (1321 words)

	The Bored - No one on here saw '21 Grams'? (Site not responding. Last check: 2007-10-12)
		The forger reasons thus: Our knowledge of antiquity (or of some remote land) is imperfect, so any new document from that time or place should be in some sense beyond our ability to predict it.
		The presence of a Verfremdungseffekt confirms this expectation of strangeness on the part of the connoisseur, the person the forger is trying to deceive.
		11-18-2004 09:55 AM The verfremdungseffekt as Bertold Brecht introduced it in his plays was indeed meant to alienate the audience.
	www.trickology.com /thebored/printthread.php?t=5234&pp=40 (1040 words)

	Irishvibe (dot) Com (Site not responding. Last check: 2007-10-12)
		The main stage is a gigantic space, though, and all their shows suffer from a certain Cecille-B-De-Miillism, from sheer necessity to fill that gigantic expanse.
		I saw a few fine shows upstairs in their far more intimate studio space, but many of them tend to suffer under a static 'headiness' - Verfremdungseffekt syndrome, is what I call it.
		The future is either the intimacy of concentrated emotion in a tight studio space on the flat, or a broad spectacle on the streets.
	www.irishvibe.com /ftopicp-1518.html (1511 words)

	Tonya Howe (Site not responding. Last check: 2007-10-12)
		By destroying the illusion of reality—the illusion that characters on stage are people that need to be identified with—his audiences were made to think about what they saw and act on what they thought.
		He called this tactic “verfremdungseffekt,” or “alienation effect,” and as an idea, it was based on the cultivation of critical detachment.
		So, having taken a very roundabout way to explain the method of my madness, I can now say that this course has been designed with the same goal in mind.
	www-personal.umich.edu /~thowe/124/016/Statement.htm (472 words)

	Blogger: Email Post to a Friend
		His poetry and plays are continually translated, printed, and performed; the techniques he employed in search of the elusive Verfremdungseffekt (alienation effect) are so deeply ingrained in stage and film they seem like second nature - nobody broke the fourth wall and spoke to the audience before Brecht thought it a good idea.
		His notion of a critical look at drama as a representation of reality, without the suspension of disbelief, speaks right to the core of how I view much of the world.
		Every cover of Mack the Knife - it's one of the most often recorded songs in the history of music - is credited to Weill/Brecht.
	www.blogger.com /email-post.g?blogID=8555271&postID=110297811422718809 (465 words)

	New Page 4 (Site not responding. Last check: 2007-10-12)
		To prevent spectators from becoming emotionally involved with a play and identifying with its characters, Brecht used a variety of techniques.
		Notable among them was the Verfremdungseffekt (alienation or estrangement effect), which was achieved through such devices as choosing unfamiliar settings, interrupting the action with songs, and announcing the contents of each scene through posters.
		Around 1940 Brecht began writing the dramas for which he is primarily known today; some of these were produced or published first in English, then in German.
	www.pegasus51.org /aladren/brecht.htm (391 words)

	Verfremdungseffekt - short stories uncut (Site not responding. Last check: 2007-10-12)
		In writing plays, Brecht utilized a stylistic device often referred to as "Verfremdungseffekt." It's German.
		It translates roughly to "Alienation Effect" or "Distancing Effect," and it's purpose is not to connect with an audience emotionally but intellectually.
		The Challenge: write a story (flash fiction or as large as 2,000 words) utilizing Brecht's Verfremdungseffekt.
	www.eastoftheweb.com /uncut/node/printable/12885 (211 words)

	The influence of Brecht (Site not responding. Last check: 2007-10-12)
		In this way the theatre could project a picture of the world by artistic means and offer models of life that could help the spectators to understand their social environment and to master it both rationally and emotionally.
		The main concept of Brecht's program was that of Verfremdungseffekt ("alienation").
		In order to induce a critical frame of mind in the spectator, Brecht considered it necessary to dispense with the empathetic involvement with the stage that the illusionary theatre sought to induce.
	www.cs.brandeis.edu /~jamesf/goodwoman/brecht_influence.html (1251 words)

	Modernism.
		Naturally, he was influenced by Piscator, but used his methods on a much smaller scale.
		As Willett said " The real novelty [of Brecht's theatre] and force of his plays lay in the words which simply could not stand such top-heavy staging"5 and therefore focussed his work on 'die Verfremdungseffekt', a technique he created that made the acting strange to the audience.
		In doing this, Brecht took the emotion out of the production, distanced the audience from the characters, and most importantly made the actors dissociate themselves from their roles.
	www.coursework.info /i/52848.html (521 words)

	Theater News - Reviews: The Threepenny Opera -
		From the get-go, the message is clear: Although there'll be plenty of laughs to be had during this performance, none of them will be unintentional, and the essentially dark, biting nature of the show will not be soft-pedaled.
		For all of this, high praise goes to director Peter Hunt, who evinces a firm grasp of the verfremdungseffekt concept that is basic to Brecht's work.
		(This is the basis of much of Urinetown's humor.) Yet when employed correctly, as verfremdungseffekt is here by Hunt and his colleagues, it serves well its purpose of making the audience look at Macheath, Polly Peachum, Jenny Diver, Lucy Brown, et al.
	www.theatermania.com /content/news.cfm?int_news_id=3688 (849 words)

	little.red.boat: Comment on Verfremdungseffekt: served up by a honey with a phat-ass donk (Site not responding. Last check: 2007-10-12)
		Comments: Verfremdungseffekt: served up by a honey with a phat-ass donk
		It's a long time since I've seen the word 'Verfremdungseffekt' written down anywhere.
		I'm off to hang half a net curtain across the front of my living-room.
	www.meish.org /cgi-sys/cgiwrap/megp/mt/mt-comments.cgi?entry_id=13052 (110 words)

	little.red.boat: Verfremdungseffekt: served up by a honey with a phat-ass donk (Site not responding. Last check: 2007-10-12)
		little.red.boat: Verfremdungseffekt: served up by a honey with a phat-ass donk
		Verfremdungseffekt: served up by a honey with a phat-ass donk
		I've just finished reading a book, and I just wanted to mention it.
	www.littleredboat.co.uk /013052.php (434 words)

	Theatre Dictionary
		alienation effect: from the German term Verfremdungseffekt (from the verb verfremden, "to make strange"), this was Brecht's technique for making the audience stand back and objectively observe the action of a play so that it might judge its social issues.
		Elements such as songs, political speeches, signboards, storytellers, and direct address "alienate" the audience from the action of the play.
		alternative theater: from the German term Verfremdungseffekt (from the verb verfremden, "to make strange"), this was Brecht's technique for making the audience stand back and objectively observe the action of a play so that it might judge its social issues.
	afronord.tripod.com /thr/dic1.html (2781 words)

	Brecht
		Brecht describes his theory fully (Brecht on Theatre, section 31): the actor is to show not to be; Esslin calls this “acting in quotation marks”.
		The term refers to the use of various devices to make things appear in a new light, so we consider them with intellectual objectivity, robbed of their conventional outward appearance.
		When something is presented in a strange or surprising manner and we see it afresh, a Verfremdungseffekt has been achieved.
	www.universalteacher.org.uk /drama/brecht.htm (5798 words)

	Bertolt Brecht and Epic Theatre (Site not responding. Last check: 2007-10-12)
		Epic Theatre turns the spectator into an observer, but arouses his capacity for action, forces him to take decisions...
		Die Verfremdungseffekt (The Alienation Effect) performs this function.
		It provides a 'bond' of alienation between performer and audience.
	cfaonline.asu.edu /the220/notes/epictheatre.html (740 words)

	UCSB art122 - Exploring DVD Territories - Graham Budgett
		Class research takes into account all of the considerations above and looks at present possibilities for cataloging and expanding the capabilities of the interactive DVD medium early in its history - much as Vertov did with Man with a Movie Camera early in the history of Film.
		The premise is that - as with Bertolt Brecht's concept of 'Epic Theatre' and Verfremdungseffekt - the structure of DVD, its conventions, its assumptions, can be examined and turned inside-out by innovation and experiment to beneficial effect for the medium and its users.
		This is also seen as an acknowledgement and affirmation of the Duchampian principle that ultimately an audience must 'complete the artwork', thus playing a key role in the production of meaning.
	www.arts.ucsb.edu /faculty/budgett/classes/122 (718 words)

	BOMB Magazine: Ben Katchor by Alexander Theroux (Site not responding. Last check: 2007-10-12)
		I'm thinking mainly about the Marxist underpinnings of the story.
		I'm also thinking of the Verfremdungseffekt of the production, the de-theatricalizing of the stage: the actors sing all their lines, and the set stays pretty empty except for your drawings that are projected onto huge screens.
		BK: I know Brecht mainly from his music theater collaborations with Kurt Weill, Paul Dessau and Hanns Eisler.
	www.bombsite.com /katchor/katchor2.html (504 words)

	Compare Prices and Read Reviews on Man Bites Dog at Epinions.com (Site not responding. Last check: 2007-10-12)
		Verfremdungseffeckt is a concept originated by German playwrite BERTHOLDT BRECHT.
		The basic premise of Verfremdungseffekt is to distance the audience members from the characters by making the characters so despicable and annoying that the audience cannot possibly identify with them.
		The purpose of BRECHT'S employment of this technique was for the audience to learn from the mistakes, shortcomings and character flaws of the characters, however, I don't know if this was necessarily BELVAUX'S intention.
	www.epinions.com /mvie-review-5C83-5E03032-3921634A-prod2 (390 words)

	[No title]
		The definition of authentic experience as one where audiences confront the incomprehensible is at the core of the Los Angeles Festival of the Arts, which I see as a cultural form driven by an avant-garde sensibility.
		It might even be said that the Los Angeles Festival restaged the loci classici of avant-garde performance, among them those encounters with Chinese opera and Balinese performance in Moscow and Paris during the thirties that gave us Brecht's Verfremdungseffekt and Artaud's pure theatricality.
		In the brief remarks that follow, I will explore how the Los Angeles Festival of the Arts, in staging work unfamiliar to its audiences, avoided "ethnographic" and "entertainment" approaches.
	www.lib.umd.edu /ETC/ReadingRoom/Newsletters/EthnoMusicology/Archive/Kirshenbl-draft (7482 words)

	Spectator, The: Politics and Salzburg
		All three Salzburg Festival operas that I caught last week in new productions by top German directors are consciously political works: Don Carlo (the 1884 version), The Rise and Fall of the City of Mahagonny, and Katya Kabanova.
		And the issue with political operas as with political theatre is that old Brechtian matter of Verfremdungseffekt, in English usually and misleadingly translated as `alienation effect'.
		How far should director and performers encourage audiences to get lost in the thrill of the story?
	www.findarticles.com /p/articles/mi_qa3724/is_199808/ai_n8822693 (1298 words)

	Dymaxion - Last.fm (Site not responding. Last check: 2007-10-12)
		Listen to music, see charts for Dymaxion - Mice in Drain, Dymaxion - Verfremdungseffekt, Dymaxion - Gebrauchmusik, Dymaxion - Use Once and Destroy, Dymaxion - I-Man Transport
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		Click a button below to tune in with the Last.fm Player:
	www.last.fm /music/Dymaxion (56 words)

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