Key theory and practice
Key issues
Aristotelian theatre; Brecht thought that Aristotelian theatrical tradition was underpinned by ideas that impeded a social revolution; he wanted his theatre to construct a world open to change.
Bourgeoisie are the ruling classes.
Class is defined as a group of people who are identified by their 'working role' in society.
Dialectics are opposing thoughts/contradictions/juxtapositions. Dialectics have the capacity to negate the spectators' concepts of the world, which are taken for granted. An actor in a Brechtian play is forced to examine the contradictory (both visual and cognitive) behaviours of their own and other characters.
Empathy; Brecht wanted his actors to achieve some empathic understanding of the characters they were exploring but with an analytical demonstration of their attitude, this is in contrast to Stanislavski's psychological realism.
Epic Theatre is the over-riding concept of Brechtian theatre and is used to describe all the techniques that contribute to his theatrical social commentary.
Gestus is a physical gesture, with attitude, that provokes debate among the spectators. The actor crafts the gesture to demonstrate how human behaviour is created by economic and historical facts, yet it is still open to change.
Historification is the term Brecht used to describe his way of probing into the present through past histories.
Rehearsal process is a way to think and act upon social interaction. Brecht believed in creative collaboration which would then be reflected in the revolutionary political action of his plays.
Spectators watch and observe the dramatic action so that they can engage in a debate about social change.
Tableaux is used in rehearsals to sculpture socially significant groupings and is often transferred to performance.
Verfremdung/Alienation is an acting technique to help create new insights into the issues and themes being raised in Brecht plays and initiates discussion about social change.
(Adapted from Mumford, 2009, p.166-176 & Hatton and Lovesy, 2009, p.143-146).
Rehearsal process
During the rehearsal process of Mother Courage and Her Children they should examine and consider:
Political class structures
Gender issues
The details of a character's social and economic life
The exploitation of the working classes
How to practically analyse on the stage floor
How to depict a character whilst demonstrating that they are making decisions, and at any moment capable of making different choices in their life (i.e. creating a positive intervention against social and political injustice).
A theatre that appeals to both the actors emotional and rational selves
A political theatre that tries to enlighten all the people involved in the process and product.
Large scale social (character) groupings that illuminate social and political power relationships
Why the play is a critical reflection on art and society of the 1930-l 950's .
If this play is relevant today .
Theory and practice in action
The following approaches can be adapted to different scenes or moments of the play.
Epic theatre
Epic theatre challenged the thoughts of Aristotle (i.e. that tragedy ranks above epic). Epic theatre is also allied to the Iliad as well as ancient Asiatic theatre. The main idea of Brechtian epic theatre is to show that society can change or is capable of change. Brecht's epic plays portray the action using a narrator who observes and reports on history and events. Epic theatre is therefore a mode of theatre with an emphasis on the telling, and in Mother Courage and Her Children. Mother Courage is the main narrator who draws attention, through her misguided preference for war, to the cause and effects of a warm mongering society misdirected in its priorities, although other characters such as The Cook, The Chaplin, also take on this role.
Simply put, epic theatre's theory and practice encompasses:
Gestus
Dialectics
Historification
Verfremdung.