Judith Butler Violence Mourning Politics

Our play uses variety of styles, mainly Brecht’s epic theatre as our play depicts political message. Our play is structured as montage as it shows different stages of George’s life in a non-chronological order, we effectively did this

This phenomenon was replicated at the University of Michigan’s SMTD performance of The Resistible Rise of Arturo Ui, written by Bertolt Brecht. This play told the story of the rise of gangster Arturo Ui and the corruption of the cauliflower business in order to satirize the rise of Hitler. Despite this being a play, rather than a musical, the use of Copland’s “planes of listening” still apply. Theater-goers can still view the work with different approaches- either purely surface level, meaning-driven, or technical, like the “planes of listening Copland describes.

Brecht’s political theatre stems from his political views towards communism and the upper class society. Theatre that comments on political issues within society. Brecht began to have a dislike for the capitalist society he was brought up in and wanted more of an equal approach to the world and the people around him. With epic theatre, Brecht wanted it to be both didactic (able to teach others) and dialectic (able to create discussions and ideas). The audience at no time during an epic play can be seen to be in a trance or take what they see on stage for granted. Our performance is reflective of Brecht and his Epic and Political theatre as we address many political topics such as Marxism and the divides between classes and the corruption of the government. We have props such as protest signs and banners to communicate Brecht’s political theatre to the audience. In the first episode, Brown’s Boys, there is a scene where MPs choke and die after ignoring the recession and protesters emerge into the audience chanting that ‘politics is dead’ and ‘they don’t really care about us’ while holding banners saying, ‘politics is dead’ and ‘Gordon Clown’. This was done as it represented politics and the fact the seriousness of the situation was ignored; showing how quickly the issues with the recession spiralled out of control and became something that even the higher up in society were unable

Loss is a phenomenon that is experienced by all. Death is experienced by family members as a unique and elevated form of loss which is modulated by potent stages of grief. Inevitably, everyone will lose someone with whom they had a personal relationship and emotional connection and thus experience an aftermath that can generally be described as grief. Although bereavement, which is defined as a state of sorrow over the death or departure of a loved one, is a universal experience it varies widely across gender, age, and circumstance (definitions.net, 2015). Indeed the formalities and phases associated with bereavement have been recounted and theorized in literature for years. These philosophies are quite diverse but

How Brecht achieves producing this state of consciousness is more subtle and elegant than the previous technique of having actors walk out with blatant placards to remind the audience that they are watching a play. One of the marks of Brecht’s epic theater is his alienation effect, or “a representation which allows [the audience] to recognize its subject, but at the same time makes it seem unfamiliar” (Brecht 1948, 8).

The first theory I will be discussing is the Continuing Bond Theory we covered in lecture. Continuing Bond Theory is about continuing a relationship with a loved one was has died, which helps enhance an individual’s life by continuing this bond (Class notes, 2017). When reading the group lossography I found many classmates who currently practice this theory. For example, a classmate describes the death of their grandmother who played a big role in their life. In their lossogrpahy, the classmate talks about the strong bond and close relationship with their grandmother. After the death of their grandmother, their family has created rituals by having created shirts in their grandmother’s memory, pillows made out of her shirts, and the family gathering together every year for the anniversary of her death (pg. 105). These rituals help keep and play a key role in the classmate’s relationship with their deceased grandmother. The grief theory applies to this example because this classmate engages in rituals every year to keep her grandmother in her memory and to help preserve the close bond they once had.

Brechts work is based on the concept that theatre is a means of political persuasion for the masses. He sees the theatre as a tool to manipulate the audience, and to influence their day-to-day living once that have thought about issues raised during the performance.

"Nowadays the plays' meaning is usually blurred by the fact that the actor plays to the audiences hearts. The figures portrayed are foisted on the audience and are falsified in the process. Contrary to present custom they ought to be presented quite coldly, classically and objectively. For they are not matter for empathy; they are there to be understood and politely added

“Theatre makes us think about power and the way our society works and it does this with a clear purpose, to make a change.”

In the words of Gay McAuley, “for an activity to be regarded as a performance, it must involve the live presence of the performers and those witnessing it…” (McAuley, 2009, cited in Schechner, 2013, pp.38). This statement recognises the importance of both the actor and the audience for something to truly function as a performance. In addition, Lloyd Llewellyn-Jones highlights the significance of the theatrical space and how it can influence an audience stating that “on entering a theatre of any kind, a spectator walks into a specific space, one that is designed to produce a certain reaction or series of responses” (Llewellyn-Jones, 2002, pp.3). The relationship between actor, audience and theatrical space is no less important today than it was at the time of theatre during the Spanish Golden Age and the creation of Commedia dell’arte in Italy. Despite being very close geographically with theatre thriving for both in the same era, sources that explore the social, cultural and historical context of these countries and the theatre styles will bring to light the similarities and differences. This essay will analyse the staging, the behaviour of the audience as well as the challenges the actors faced, and how this directly influenced the relationship between actor, audience and theatrical space.

Sharon Willis in her essay on Do the Right Thing stated, “Lee’s antirealist project in Do the Right Thing brings it closely in line with the theatrical practices of Bertolt Brecht.” (837) Bertolt was a famous German theater practitioner and playwright that came up with a concept known as “Verfremdungseffekt,“ or distancing effect. The concept behind this practice is to defamiliarze the

This essay explores several models and theories that discuss the complexities of loss and grief. A discussion of the tasks, reactions and understanding of grief through the different stages from infants to the elderly, will also be attempted.

The above example illustrates not only how the theatrical performance affects the audience, but also how the audience influences its dynamics, development and the characters within it. The actors feel a certain level of acceptance from the viewer, who demands a certain way of depicting the character. Theatre is not just entertainment, itís something much more than that ñ itís education. Theatre should always represent things, rather than

The Life and Works of Bertolt Brecht In this essay I will consider the life and works of Bertolt Brecht, the famous theatre practitioner who has had such a dramatic impact on our understanding of the theatre and acting. First of all I will give a biography of Brecht because it is important to know the background of his life in order to understand the motives he had for writing and producing plays in the way he did. We will see a direct correlation between events in his life and the plays and techniques that he propagated. I will then move to explore the methods and techniques that Brecht developed, looking at how they came about and who influenced his work.

Since its publication in 1990, Gender Trouble has become one of the key works of contemporary feminist theory, and an essential work for anyone interested in the study of gender, queer theory, or the politics of sexuality in culture. This is the text where Judith Butler began to advance the ideas that would go on to take life as "performativity theory," as well as some of the first articulations of the possibility for subversive gender practices, and she writes in her preface to the 10th anniversary edition released in 1999 that one point of Gender Trouble was "not to prescribe a new gendered way of life [...] but to open up the field of possibility for gender [...]" Widely taught, and widely debated, Gender Trouble continues to offer a powerful