Julio Marquez Burtz Exile Research Paper

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

Bertolt explored theatre as a forum for political theatre. His perspectives for epic theatre were Marxist and his intention was to present moral problems and reflecting on the social realities. He wanted to do this by hiding the emotions of the character and instead empathizing with the characters and become caught up

Diaspora is the movement, migration, or scattering of people away from an established or ancestral home land or in this case a scattered population whose origin lies within a smaller geographic location. The poem “Diaspora” by Chelsea Dingman ventures through the journey of a Ukrainian girl leaving her country and the in the pride she receives from that journey and her heritage. The poem focuses around the hardships that are included in taking this journey and how she lose so much, the feelings of despair and weakness is all she has left.

Throughout life, every individual must face obstacles; some more difficult than others. In the story “The Trip” by Laila Lalami, poem “Exile” by Julia Alvarez, and article “Outlaw: My Life as an Undocumented Immigrant” by Jose Antonio Vargas, there is a main character who has to face many challenges because of the fact that they’re immigrants. In all three texts, it is evident that being an immigrant has many affects on their lives. However, this label and the obstacles that come with it didn’t stop each character from pushing forward.

No society remains immobile, even if some human beings resist changes. The advances in technology and the emergence of new beliefs allow people to have a broader imagination. Thus, numerous new interpretations of ancient works, whether they are plays, folktales, or poems, permeate around the world. These renditions re-tell the original stories in contexts that adjust to modern world. What was regarded serious in the past becomes mockery nowadays. William Shakespeare, one of the greatest English play writers, has a profound influence upon different societies globally since the fifteenth century, for his plays inspire many contemporary artists to present new scopes reflecting their societies. Considered as one of Shakespeare’s greatest

The world and especially the Latin music has suffered the lost of one of the greatest singers of all time. The Mexican songwriter and singer Juan Gabriel died on August 28, 2016. He died in his home in Santa Monica, California. Juan Gabriel was one of the top earning artist, his music had no boundaries and was spread worldwide.

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).

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.

His success in school and educational attainment was aided by his parents support, mentor and teachers help, and his self-driven personality. I believe that his ability to learn English so quickly was the prerequisite that allowed him to do well in school (Feliciano Lec. 2/24/16). Matt’s father continued to pull him and his brothers out from school early before the year ended until one day “the lead person of the farmworkers told [him] that he had to leave [them] in school” but by then he was already a sophomore in high school. Contrary to Lopez’s (2003) argument in her article that young men tend to be disengaged from their studies and appeal to the masculine association of their culture, Matt stayed focused in school and always stayed on top of his homework. I think that the reason he was able to stay focused in school and have a relationship with his teachers was because his dad would not let them dress up or hangout with cholos. Students of Mexican descent who define themselves as Chicano or Cholo tend to have lower educational attainment (Feliciano Lec. 1/25/16).

Gabriel Gonzales a sixteen year old from Albuquerque, New Mexico murdered in attempt on carjacking a couple. The incident happened at 6:30 pm at the Canyon Apartments after the couple had just returned from dinner where three armed juveniles including Mr. Gonzales attack the couple for the car. In which the man shot Mr. Gonzales in head and was rushed to the hospital where he died but if he had survived he was going to be charged with assault, procession of a weapon, and armed robbery. Before Mr. Gonzales death the young man was on probation for charged with assault, stealing spray paint, one iPhone, and taking a chain from the assault victim. He was not a model young man causing trouble for him and the reason for his actions was that he wanted to make a statement. His death was a self-defense case where the man who shot him was protecting his

Bertolt Brecht and Constantin Stanislavski are regarded as two of the most influential practitioners of the twentieth century, both with strong opinions and ideas about the function of the theatre and the actors within it. Both theories are considered useful and are used throughout the world as a means to achieve a good piece of theatre. The fact that both are so well respected is probably the only obvious similarity as their work is almost of complete opposites.

The ideas of Bertolt Brecht (1898-1965) changed the theatre in many ways. Brecht along with Erwin Piscator developed the style of Epic theatre style contrasting to previous accepted styles. Presentational in form, Epic theatre is a vehicle for social comment through techniques such as: alienation, historification, eclectic influences (highly Asian), constructivism in scenery, disjointed and illogical scene placement, ordinary clothing and lighting, the use of music to detach the audience from emotion, placards and signs and projected images. Didactic in nature Brecht’s works aim to challenge the

In the chapter titled “Reflections on Exile,” Edward Said discusses the different aspects of being an exile. His discussion of exile includes what it means to be an exile, the feelings that being an exile produces in individuals, exile in relation to nationalism, and the role of exile in the modern world.  Said first defines being an exile as a state of terminal loss. He states, “the achievements of exile are permanently undermined by the loss of something left behind forever” (173).  He then contrasts this terminal loss with the cultural impact that exile has had on the modern West.  He states that, “modern Western culture is in large part the work of exiles,” (173) and, “our age[...] is indeed the age of the refugee, the displaced

The history of theatre in the 18th, 19th, and 20th centuries is one of the increasing commercialization of the art, accompanied by technological innovations, the introduction of serious critical review, expansion of the subject matters portrayed to include ordinary people, and an emphasis on more natural forms of acting. Theatre, which had been dominated by the church for centuries, and then by the tastes of monarchs for more than 200 years, became accessible to merchants, industrialists, and the less privileged and then the masses.

I will look at Brecht’s theory of Epic theatre, tracing the beginnings