The Good Person Of Szechwan On November 17th Through The 20th Directed By Gigi Jennewein And Performed

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

Tony Kushner’s play simultaneously portrays two different storylines, as mentioned above, both situated in Berlin, with the former in the 1930s and the latter in 2017. The two characters – Zillah and Agnes – around whom the plot is centred within both the storylines, coexist in the same space. However, it is

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.

Campbell University’s Theatre Arts program put on Celeste Raspanti’s play, I Never Saw Another Butterfly tonight for students, faculty members and guests. This was the opening night of the play; as the theatre program has three other shows of I Never Saw Another Butterfly. The auditorium began to fill with an ample amount of students and guests here to see the show. The play touched on love, tragedy of losing loved ones, finding and keeping up hope, and the heartfelt difficulties that Jewish people had to go through during the time period of the 1940’s in Germany.

A distinctly visual aspect of demonstrating the experience of the characters kindles curiosity in the audience to involve and instill emotional understanding of the context. Through the use of distinct and unique techniques, composers create an emotional response that can have a significant effect on the responders’ attitude on the world. The play ‘The shoe-horn sonata’ explores the crisis of circumstances as John Misto depicts the forgotten history of the women captured and imprisoned during WW2. Misto explores the experiences of the Australian nurses and the government’s response to their pleads of salvation, to emotionally bind the audience and the characters. Likewise, David Douglas Duncan involves the audience by evoking a feeling of pity and empathy in his Korean War photograph. He creates sentiment for the loss of innocence and employs distinctly visual elements to convey the horrifying nature of war. He profoundly highlights power in the photograph to explore the despair felt by the weak fleeing Korean citizens. Hence, both authors elevate the context with a visual representation of the individuals’ struggles to create curiosity and emotional rapport with the audience to improve the understanding of the characters experiences.

“The Shoe- Horn Sonata” is a play by John Misto that gives an insight into two lives of two female POWs in WW II and is a vector of Misto’s thoughts. It explores the little known and often terrible events associated with female prisoners of war. The play follows a friendship of two women through the war to a point of tension that’s beyond what any normal friendship would have to deal with. Misto engages his audience by using a multitude of mediums to portray his story creating a truly multimedia performance. The playwright challenges the audience to look beyond this to the underlying ideas of survival, loyalty and truth.

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.

As we dressed for the show, my thoughts were flooded with images and ideas. We descended the hotel stairs, hailed a taxi, and arrived at the theatre; while I remained in a pleasant daze. My first impression of the Nederlander met and exceeded all my expectations. I had envisioned an old theater, forgotten by the Broadway elite. As we walked to the door, we were able to see the wall signed by the cast and photos of the premier. The theater itself had a rundown feel to it and left you with the distinct impression that the magic was within the walls and on stage. As we entered the doors, I soaked in every thing. Our seats were located in the center, orchestra section, which gave us a perfect view of all the action.

"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

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

Our Town is a quite meta play that makes one question everything they thought they knew about theatre from the importance of a set to the self- awarness of characters. While being narrated and lead by the “Stage Manager” it follows George Gibbs, Emily Webb, and their respective families as they expereince a typical life through the three acts: Daily Life, Love and Marriage, and Death and Eternity. The play takes place from 1901- 1913 and questions the essence of life, theatre, and life through theatre ultimtely ending with Emily Webb herslef finding out these answers through the regret she experiences after death.

This film will provide you with an enhanced understanding of the play. Although, it is misleading at times, this version of the play will keep you fully entertained for the full 111 minutes and provide you with extra knowledge of the play. Casting The majority of the cast was well selected,

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.

Brecht is very successful in creating a form of drama where empathy plays little part. In The Good Person of Szechwan it would seem that every action and word is an attempt to alienate us and halt any identification one may chance to make. The indiscernible use of names for characters exaggerating the oriental sound of them is immediately noticeable i.e. 'Wang', 'Shin' 'Sun', 'Shen Te', 'Shu Ta', etc. There is also the use of language and intonation in relation to others revealing personality and social position, which comes in the form of oriental 'bows'. Many of these gestures are already to be found in Asian theatre. Brecht calls it the