Journal articles: 'Epic Theatre'

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Velmani, N. "Howard Brenton’s Transmutation from Political Theatre to Absurd Theatre." Journal of English Language and Literature 1, no. 3 (June 30, 2014): 61–64. http://dx.doi.org/10.17722/jell.v1i3.19.

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Of all the contemporary dramatists, Howard Brenton is surely the most prolific, marked by breadth and variety,his plays mainly tackling moments of great political upheavals of the time. Many of his plays are turned out at speed as quickresponses to events in public life. Brenton, as a man of political conviction, exposes contemporary consciousness. The theatreserves as a platform for his political revolt expressive of disillusionment at the failure of socialism. Following the trend ofBrechtian Epic Theatre, Brenton used the basic principles in matters of setting, characterization, empathy and dramaticstructure and the techniques of socialist realism creating a fable with characters capable of change showing the light ofdawn in the darkest night. He evolved a large-scale ‘epic’ theatre dealing in complex political issues, an attempt to constitutea British Epic theatre. Since 1965, Brenton committed himself to a career as a playwright with his first play Ladder of Foolstill the recent play Drawing the Line (2013), he has widely moved through different phases of his career as a politicaldramatist with the portrayal of England in terms of a violent political landscape. But of late, there is transmutation frompolitical theatre to absurd theatre. In his recent play Drawing the Line Brenton faces an epic task himself in distilling theturmoil of India-Pakistan partition into two hours on stage. He makes the audience realize the absurdity of decisions made bythe intelligent principled political leaders that end up in tumultuous violence and conflicting demands.

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Rokem, Freddie. "‘Suddenly a Stranger Appears’." Nordic Theatre Studies 31, no. 1 (March 13, 2019): 8–21. http://dx.doi.org/10.7146/nts.v31i1.112998.

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My contribution to the the NTS issue on Theatre and Continental Philosophy discusses a particular aspect of the complex intellectual and creative dialogue between the work and thinking of Walter Benjamin and Bertolt Brecht, beginning in 1929, the year they became close friends. Benjamin is no doubt the first critic of Brecht’s epic theatre, even planning to write a book about his artistic contributions. By examining the notion of the “Interruption” (Die Unterbrechung) and the sudden appearance of a stranger in three of Benjamin’s texts about Brecht’s epic theatre, I want to draw attention to Benjamin’s philosophical understanding of this ‘critical’ figure’ (the interrupting stranger), as one of the central aspects of the epic theatre. The essay is a prolegomenon for a more comprehensive study of this topic.

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Liu, Yao-Kun. "Brecht's Epic Theatre and Peking Opera." Journal of the Australasian Universities Language and Literature Association 2011, no. 116 (November 2011): 65–81. http://dx.doi.org/10.1179/000127911804775305.

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Desmond, Brian. "Alfred Jarry and the epic theatre." Studies in Theatre and Performance 32, no. 2 (June 21, 2012): 151–63. http://dx.doi.org/10.1386/stap.32.2.151_1.

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Gatti, Luciano. "Choreography of Disobedience: Beckett's Endgame." Journal of Beckett Studies 23, no. 2 (September 2014): 222–43. http://dx.doi.org/10.3366/jobs.2014.0105.

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The article discusses Beckett's staging of Endgame at the Schiller Theater in Berlin in 1967. The starting point is the debate between the reassertion of the autonomy of drama, proposed by Christoph Menke's theory of tragedy, and Hans-Thies Lehmann's theory of post-dramatic theatre. The article argues that neither of these positions provides a proper understanding of Beckett's work as a theatre director because his stagings demand the analysis both of the stage materiality, which does not appear in studies on the autonomy of drama, as the elements of epic and dramatic genres, which are hardly discussed by the theory of post-dramatic theatre. The article seeks to demonstrate that Beckett's work as a theatre director, besides its relevance to Beckett's studies, has much to contribute to the debate on contemporary theatre.

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Murray, Paul. "The Epic theatre workshop: a facilitator's Manifesto." Research in Drama Education: The Journal of Applied Theatre and Performance 20, no. 3 (July 3, 2015): 353–56. http://dx.doi.org/10.1080/13569783.2015.1060121.

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Chandra Uniyal,, Dr Bipin. "Grotowski´s Poor Theatre: An Experiment in Theatre." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 14. http://dx.doi.org/10.24113/ijellh.v7i12.10240.

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This research paper is about Grotowski´s poor theatre. Before Grotowski´s there were many theatre, but these theatre were not suitable for Grotowski´s purpose. Before Grotowski´s theatre there were Schechner´s Environmental theatre, Stainslavaski´s Experimental theatre, Meyerhold´s Avant-grade theatre, Alexander Tiraov´s Kamerney theatre, Brecht´s Epic theatre, Judith Malina and Tulian Beck´s Living theatre, Bread and Puppet theatre by Peter Schumana. During the 1960´s a voice of deploration came by a number of persons, who demanded the abandonment of every element of the theatre borrowed from other media and not really required. This leading exponent was Jerzy Grotowski´s Poor theatre.

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Rodosthenous, George. "“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind." Arts 9, no. 2 (April 30, 2020): 56. http://dx.doi.org/10.3390/arts9020056.

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Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.

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Trubotchkin, Dmitry. "The Iliad in Theatre: Ancient and Modern Modes of Epic Performance." New Theatre Quarterly 30, no. 4 (October 21, 2014): 379–90. http://dx.doi.org/10.1017/s0266464x14000712.

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In this article Dmitry Trubotchkin focuses on Homer's Iliad as directed by Stathis Livathinos and premiered in Athens on 4 July 2013 as part of the Athens and Epidaurus Summer Festival – as far as is known, the first production of the complete Iliad in world theatre. It was performed by fifteen actors, each of whom played several roles and also acted the role of the ancient rhapsode, or narrator of epics. Livathinos's Iliad restored the original understanding of ‘epic theatre’, which differs from what is usually meant by this term in the light of Brechtian theory and practice with its didactic and distancing emphases. In the Greek performance, the transformation of an actor from one role to another and from acting to narration is constant, and the voice of Homer as a ‘collective author’ can be heard through all these transformations. Livathinos's Iliad may well be a landmark, indicating a new way of presenting epics on the stage. Dmitry Trubotchkin is Professor of Theatre Studies at the Russian University of Theatre Arts (GITIS) and an invited Professor at the Faculty of Arts of the Moscow State University. He heads the Department of Ancient and Medieval Art at the State Institute for Art Studies in Moscow. His publications include ‘All is Well, the Old Man is Still Dancing’: Roman Palliata in Action (2005), Ancient Literature and Dramaturgy (2010), and Rimas Tuminas: the Moscow Productions (forthcoming).

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Trethewey, John. "La Mort de Pompeéand Lucan: Epic into Theatre." Romance Studies 9, no. 1 (December 1990): 21–33. http://dx.doi.org/10.1179/026399091786620778.

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Trethewey, John. "La Mort de Pompeéand Lucan: Epic into Theatre." Romance Studies 9, no. 1 (June 1991): 21–33. http://dx.doi.org/10.1179/ros.1991.9.2.21.

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Cochrane, Claire. "The haunted theatre." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (May 11, 2018): 75–88. http://dx.doi.org/10.1177/0184767818774857.

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Forests, the production by the iconoclastic Spanish-Catalan director Calixto Bieito staged at the ‘Old’ Birmingham Repertory Theatre in September 2012, functions here as the starting point for an exploration of the way a radical revisioning of Shakespeare in performance stimulated through an engagement with European modernism began in this now venerable theatre over 100 years ago. What was dubbed Bieito’s ‘epic arboreal mash-up’ was I suggest haunted by the material traces of groundbreaking past performances mounted by the Rep’s founder Barry Jackson, which included the first Shakespeare in modern-dress productions of the 1920s and the highly influential 1951–53 staging of the Henry VI trilogy.

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Desperat, Klaudyna. "Postać sceniczna w teatrze narracyjnym. „Lipiec” Iwana Wyrypajewa, „Biesiada u Hrabiny Kotłubaj” Ireny Jun." Załącznik Kulturoznawczy, no. 1 (2014): 127–57. http://dx.doi.org/10.21697/zk.2014.1.07.

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The article is devoted to the narrative theatre. Performances that represent this trend bring in to the scene, in various ways, the character of the narrator. In this draft, the theatre character has been subjected to a detailed analysis, since the character itself determines the specificity of this kind of perfomances. Ivan Vyrypayevʼs July and Irena Jun’s Dinner at Countess Pavahoke’s (Biesiada u hrabiny Kotłubaj) served as research material. The author of the article, starting from H. Lehmann’s book on Postdramatic Theatre, compares among others the narrative theatre with the Brecht’s epic theatre.

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İnal, Melisa. "A Study on Brecht’s The Good Woman of Setzuan." English Literature and Language Review, no. 54 (April 18, 2019): 38–41. http://dx.doi.org/10.32861/ellr.54.38.41.

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Each play is produced with the use of a different method, and one of the methods which has a significant influence on drama is constructed by Bertolt Brecht. According to him, the best way to show his reaction against the system and stimulate the audience to take action against such system is epic theatre. His aim is to create a conscious society. For this aim, he uses epic theatre to create a distance between the play and the audience so that the audience can gain a critical insight. The reason is that such distance makes the audience use their reasons not feelings, which creates the feeling of rebel against the system including politics, economy (Benjamin, 1969). This helps the audience question the system and give the strength to change it. In order to activate the audience, he uses certain techniques of alienation based on distance between the audience and the play in epic theatre (Akçeşme, 2009). The Good Woman of Setzuan by Brecht is a significant play to analyse such techniques. With the techniques, he shows the injustice against the lower class and class distinction in the play. In other words, he leads the audience to question the capitalist society. Such techniques as giving a distant setting, the communication between the actor and the audience and the use of songs and verses can be observed throughout the play in order to break the illusion. Thus, this paper intends to analyse the techniques of epic theatre in the play The Good Woman of Setzuan to understand how Brecht break the automatized perceptions of the audience and show them a different world with the aim of rebel against the capitalist system.

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Moroseeva, Daria D. "Poetics of B. Brecht’s epic theatre in terms of the cubist principle." Semiotic studies 1, no. 1 (April 25, 2021): 61–69. http://dx.doi.org/10.18287/2782-2966-2021-1-1-61-69.

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This article is devoted to an attempt to consider the concept of B. Brechts epic theatre in terms of the cubist principle as a characteristic technique of the avant-garde and postmodernism, based on overcoming traditional mimetic forms when creating an artistic whole and suggesting such a way of organizing an artistic image in which affective involvement based on ready-made forms of perception and recognition, is replaced by the need for the so-called work of understanding. The main objectives of the article include the discovery and description of the mechanisms for the implementation of the cubist principle in the concept of Brechts epic theatre. The goal of the study is to prove the productivity of considering Brechts poetics in terms of the cubist principle. The research is carried out on the basis of an integrated approach that combines systemic-holistic and hermeneutic methods. The block of empirical materials includes Brechts works on the theory of epic theatre, as well as the works of Russian and foreign literary scholars and art theorists, devoted to both highly specialized aspects of Brechts theory of dramaturgy and issues related to the problem of authenticity of artistic expression and features of the structure of a work of art in the context of the collapse of traditional ideas about an artistic object as a result of imitation or expression of the artists inner world. The results obtained make it possible to present the concept of Brechts epic theatre as an experience of problematization of the creative act in a situation of crisis of artistic forms and reveal the expediency of considering Brechts poetics in terms of the cubist principle due to a much broader view of the technical and ideological-content aspects of his concept, in contrast to previously adopted concepts montage and separation of elements.

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Davis, R. G. "A Director's Journey from Performance Art to Ecological Aesthetics." New Theatre Quarterly 30, no. 2 (May 2014): 168–74. http://dx.doi.org/10.1017/s0266464x1400027x.

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R.G. Davis founded the company that became the San Francisco Mime Troupe as an experimental project of the Actors' Workshop in 1959. He left the Troupe in 1970, formed the Epic West Center in Berkeley for the study of Bertolt Brecht and epic theatre, and became a pioneering director in the United States successively of the plays of Brecht and Dario Fo, on which he wrote in the original Theatre Quarterly 40 (Autumn–Winter 1981) and in New Theatre Quarterly 8 (November 1986). In this article he traces the course of his subsequent career in creating experimental storytelling events and, via an interlude garnering academic qualifications, into the field of ecological aesthetics, which he defines as ‘a Brechtian aesthetic and ecological socialism interrogating each other within a scientific ecological conception of nature’. The present article is based on a lecture he gave in June 2013 at Stanford University.

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Saeed, Zanyar F. "Elements of The Epic Theatre in Edward Albee's The Sandbox." Humanities Journal of University of Zakho 1, no. 1 (June 30, 2013): 1–6. http://dx.doi.org/10.26436/hjuoz.2013.1.1.86.

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The theory of the epic theatre was promoted in the first half of the twentieth century by the German playwright Bertolt Brecht. He believed that the new events of the twentieth century dictate the necessity for new modes of presentation. Being primarily politically and socially concerned, he wanted to make his audience think about the socio-political problems shown on stage, rather than feeling it; thus, he called for the notion of estrangement/alienation or what is often termed the A-effect. The present paper is an attempt to show how Edward Albee employs some of the techniques of the epic theatre in his play The Sandbox. The paper is more technically, than thematically, oriented. In many places in this short play, Albee makes the audience feel that they are watching a play=game, not a slice of life as it is claimed by the realist dramatists. Some of the elements of the epic theatre which are employed in this play are: the actors do not identify with the characters that they play; the author deals with some serious situations in a cartoon-like way; some characters play the role of the author and/or the director; the characters address the audience directly; and mixing tragic and comic events at the same moment.

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Lyons, Robert. "In Search of Brecht: Notes from Rehearsals of ‘Leben des Galilei’ at the Berliner Ensemble, 1997." New Theatre Quarterly 15, no. 3 (August 1999): 256–79. http://dx.doi.org/10.1017/s0266464x00013051.

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In the fall of 1997, Robert Lyons assisted at the Berliner Ensemble on the production of Leben des Galilei directed by B. K. Tragelehn, who himself had assisted on Brecht's 1955 production of the play, his last before his death. The following article comprises a series of notes, thoughts, and insights gathered and written by the author during the course of rehearsals, research into the theatre's archives, and following discussions spurred by the centenary celebrations of Brecht's birth. Issues arising include the autobiographical elements within Galilei, the nature of ‘alienated’ acting and the relevance of gestus, the treatment of time in the epic theatre, the parable and the need for context in the epic theatre, the necessity of coming to terms with Brecht for our own times, the potential for using ‘Brecht’ in the American theatre, and the future of the Berliner Ensemble. Robert Lyons, who studied at Wabash College, UCLA, and Humboldt University, is an independent director currently living and working in Berlin.

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남지수. "The post-epic characteristics in Jan Lauwers’ theatre -, and -." Journal of korean theatre studies association 1, no. 48 (December 2012): 447–84. http://dx.doi.org/10.18396/ktsa.2012.1.48.014.

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Yong-Soo Kim. "Epic Theatre Reexamined from the Viewpoint of Cognitive Science." Journal of korean theatre studies association 1, no. 49 (April 2013): 133–70. http://dx.doi.org/10.18396/ktsa.2013.1.49.005.

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Mal'tseva, Ol'ga Nikolaevna. "THEATRE CRITICISM ON THE INFLUENCE OF BERTOLT BRECHT’S EPIC THEATRE ON ROBERT STURUA’S PERFORMANCES." Manuscript, no. 10 (October 2018): 121–25. http://dx.doi.org/10.30853/manuscript.2018-10.24.

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Shim, Jung-Soon. "The Shaman and the Epic Theatre: the Nature of Han in the Korean Theatre." New Theatre Quarterly 20, no. 3 (August 2004): 216–24. http://dx.doi.org/10.1017/s0266464x04000119.

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The distinctively Korean concept of Han evokes a pervasive sense of sorrow, traditionally in need of shamanistic purging in the spirits of the dead, but also describing the sense of national trauma induced first by the Japanese occupation, then by the post-war division of the country. Han has also become an important feature of modern Korean drama, and in this article Jung-Soon Shim describes how Park Joh-Yeol's play The Toenails of General Oh (1974) revisits the concept, integrating indigenous cultural traditions – notably the shamanic ritual Gut – and how, in the production by Sohn Jin-Chaek, the director utilized a western style of epic theatre to create a ‘distanced’ style of Gut on the proscenium stage. Jung-Soon Shim is Professor of English at Soongsil University in Seoul, and a founding member of the Korean Association of Women in Theatre (KAWT), of which she is currently President. Her books include the two-volume Globalization and Korean Theatre (2003), which won the Best Book of the Year Award of the Korean Ministry of Culture. She also received the Best Critic Award for 2004 from the Korean Association of Theatre Critics. Her research for this article was supported by Soongsil University.

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Davis, R. G. "Plays from a Marxist Perspective: Interpretations and Misinterpretations of Dario Fo." New Theatre Quarterly 33, no. 2 (April 12, 2017): 188–93. http://dx.doi.org/10.1017/s0266464x17000094.

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R. G. Davis directed the first commercial productions of Dario Fo's Accidental Death of an Anarchist and We Won't Pay We Won't Pay!, both in Canada and the USA. In the context of the original close relevance of the plays to the political situation in Italy, he looks at how in the USA especially their force has been diluted if not extinguished by the imperative to conform to the inherent anti-communsm of American culture. R. G.Davis founded and directed the San Francisco Mime Troupe in the 1960s, and the Epic West Center for the Study of Bertolt Brecht and Epic Theatre at Berkeley in 1975. Later he returned to academia to study science and ecology, and visited Cuba to examine the culture of organic farming. He has contributed previously to New Theatre Quarterly and its predecessor, specifically on Fo in two articles for the original Theatre Quarterly: ‘Seven Anarchists I Have Known: American Approaches to Dario Fo’, in TQ 8 (1986), and ‘Dario Fo Off-Broadway: the Making of Left Culture under Adverse Conditions’, in TQ 40 (1981).

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Rockett, Will. "Woyzeck: The 150th Anniversary." Theatre Research in Canada 10, no. 1 (January 1989): 94–101. http://dx.doi.org/10.3138/tric.10.1.94.

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This essay is a sequel to a recent discussion in these pages (vol 8, no 2, Fall 1987) of the great popularity of Büchner's Woyzeck in the Canadian theatre. The author discusses his own 1985 production of the play, using a new translation prepared for the production, which was aimed at realizing the play as epic theatre in the round, emphasizing the cyclical and mythic nature of Woyzeck's dilemma.

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Lorek-Jezińska, Edyta. "Mimesis in Crisis: Narration and Diegesis in Contemporary Anglophone Theatre and Drama." Text Matters, no. 7 (October 16, 2017): 353–67. http://dx.doi.org/10.1515/texmat-2017-0019.

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The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the expansion of the narrative space. This space offers various possibilities of exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin (2013); the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances (Showtime, 1996) and Martin McDonagh’s The Pillowman (2003); and the narrative density and traumatic aporia of Pornography (2007) by Simon Stephens.

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Füllner, Niklas. "New Brechtian Impulses in Contemporary Finnish Theatre: A Case Study of Juha Jokela’s Esitystalous (2010)." Nordic Theatre Studies 28, no. 1 (June 22, 2016): 87. http://dx.doi.org/10.7146/nts.v28i1.23975.

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At the beginning of the 21st century, Finnish theatre experienced a wave of new, politically engaged drama that came hand in hand with a renewal of aesthetics and dramaturgical strategies. One component of this renewal was a new perspective on Brecht’s epic theatre, which was initiated by visits of Finnish theatre directors to theatre performances, for example, by Frank Castorf, in Germany. As a consequence of this, an interweavement of Brechtian aesthetics and Finnish theatre tradition became a trend on Finnish stages. One example of this is Juha Jokela’s Esitystalous (Performance Economy), which was premiered at Espoon Kaupunginteatteri in 2010. Here, Jokela uses Brechtian alienation effects to put the audience in the position of a critical observer. However, he does not dissolve the unity of actor and role, but sticks to the Finnish acting tradition, thereby creating his very own aesthetics of a new political theatre.

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Arzumanova, Inna. "Faking femininity: Masquerade and epic theatre in fashion Tv’s lesson." Critical Studies in Fashion & Beauty 3, no. 1 (December 1, 2012): 117–30. http://dx.doi.org/10.1386/csfb.3.1-2.117_1.

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Laird, Andrew. "Roman Epic Theatre? Reception, performance, and the poet in Virgil'sAeneid." Proceedings of the Cambridge Philological Society 49 (2003): 19–39. http://dx.doi.org/10.1017/s0068673500000936.

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Past responses to ancient literature and the reading practices of previous centuries are of central relevance to the contemporary exegesis of Greek and Roman authors. Professional classicists have at last come to recognise this. However, accounts of reception still tend to engage in a traditional form ofNachleben, as they unselfconsciously describe the extent of classical influences on later literary production. This process of influence is not as straightforward as it may first seem. It is often taken for granted in practice, if not in theory, that the movement is in one direction only – from antiquity to some later point - and also that the ancient text which ‘impacts on’ on the culture of a later period is the same ancient text that we apprehend today. Of course it isneverthe same text, even leaving aside the problems of transmission. The interaction between a text and its reception in another place, in another time, in another text, is really a dynamic two-way process. That interaction (which has much in common with intertextuality) involves, or is rather constituted by, our own interpretation of it.

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Hamidi-Kim, Bérénice. "Post-Political Theatre versus the Theatre of Political Struggle." New Theatre Quarterly 24, no. 1 (January 30, 2008): 41–50. http://dx.doi.org/10.1017/s0266464x08000043.

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In this article Bérénice Hamidi-Kim tests the hypothesis that two conflicting interpretations of the notion of ‘political theatre’ exist on the French stage today. She suggests that each is based on a specific ideology stemming from a specific conception of history and policy, which results in a legitimation of the theatre and of artists both in the theatrical field and in society at large. One, which she calls ‘post-political theatre’, seems to proceed from a radical anthropological and political pessimism, and has deliberately severed all links with all previous forms of political theatre and given up any revolutionary ambitions. The other, which she calls ‘political-struggle theatre’, proudly embraces the legacy of the earlier forms of revolutionary political theatre – the epic form of documentary theatre in particular – and is attempting to revive the political ambition of contributing to a comprehensive, coherent critical project, based on the assumption that theatre is a preparatory school for reality and for political action. Bérénice Hamidi-Kim's doctoral thesis was entitled ‘The Cities of Political Theatre in France from 1989 to 2007’. She is also author of ‘Quelle place politique et culturelle pour le cadre de l'Etat-Nation dans le théâtre de gauche français?’ in the e-review Sens Public (2006), and of ‘Théâtre populaire, immigration, intégration, et identité nationale’, forthcoming in the February 2008 issue of Etudes Théâtrales.

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Akı, Ercan. "A Study on von Trier’s Dogville: An Amalgam of Aristotelian Dramatic Theatre and Brechtian Epic Theatre." 4. BOYUT Medya ve Kültürel Çalışmalar Dergisi / 4. BOYUT Journal of Media and Cultural Studies, no. 20 (October 25, 2022): 77–90. http://dx.doi.org/10.26650/4boyut.2022.004.

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Jackson, Adrian. "Augusto Boal – a Theatre in Life." New Theatre Quarterly 25, no. 4 (November 2009): 306–9. http://dx.doi.org/10.1017/s0266464x09000591.

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Augusto Boal died on 2 May 2009 at the age of seventy-eight. The following tribute is by Adrian Jackson, who knew Boal not only as translator into English of five of his books and collaborator on many of his workshops, but as a leading practitioner deploying Boal's techniques, notably as founder in 1991 and Artistic Director of Cardboard Citizens, the UK's only homeless people's professional theatre company, for whom he has directed more than twenty productions, including two in association with the Royal Shakespeare Company – Pericles, played in a disused warehouse off the Old Kent Road, and Timon of Athens, which toured Stratford and the Belfast Festival. The company's most recent production was Mincemeat, a Second World War epic based on the story of the Man Who Never Was.

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Hailey, Christopher, Hilda Meldrum Brown, and Bernd Kortlander. "Leitmotiv and Drama: Wagner, Brecht, and the Limits of 'Epic' Theatre." Notes 49, no. 4 (June 1993): 1464. http://dx.doi.org/10.2307/899392.

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Jenkinson, D. E., and Hilda Meldrum Brown. "Leitmotiv and Drama: Wagner, Brecht and the Limits of 'Epic' Theatre." Modern Language Review 89, no. 4 (October 1994): 1044. http://dx.doi.org/10.2307/3733981.

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Snook, Jean M., and Hilda Meldrum Brown. "Leitmotiv and Drama: Wagner, Brecht, and the Limits of 'Epic' Theatre." German Studies Review 15, no. 3 (October 1992): 644. http://dx.doi.org/10.2307/1430425.

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Wake, Caroline. "Headphone Verbatim Theatre: Methods, Histories, Genres, Theories." New Theatre Quarterly 29, no. 4 (November 2013): 321–35. http://dx.doi.org/10.1017/s0266464x13000651.

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Created in an American rehearsal room, exported to an English workshop, and developed in Australia, among other places, ‘headphone verbatim theatre’ – also called ‘recorded delivery’ – is a truly global genre. In this article Caroline Wake focuses on the work of two pioneering practitioners, Briton Alecky Blythe and Australian Roslyn Oades, in order to trace the form's history as well as its methods, genres, and theories. In doing so, she considers how audio technology has evolved over the past decade and how the display or disguise of headphones has affected both the production and reception of the form. She identifies three dominant genres of headphone verbatim theatre (the social crisis play, the social justice play, and the social portrait play, as well as three main performance modes – the epic, the naturalistic, and the mixed. The epic has been the most successful thus far, but the naturalistic and mixed modes are, in turn, begetting new ones. Finally, she suggests that in the same way that headphones have rejuvenated verbatim theatre, they might also reinvigorate the discourse on it by offering the opportunity to go beyond the politics of voice and visibility and to turn, instead, to listening. Caroline Wake is a Postdoctoral Research Fellow in the Centre for Modernism Studies in Australia at the University of New South Wales. Her research examines cultural responses to and representations of refugees and asylum-seekers as well as the role of testimony in law, performance, and visual culture. Her work has previously appeared in journals such as Text & Performance Quarterly, Modern Drama, and History & Memory. She is the co-editor, with Bryoni Trezise, of Visions and Revisions: Performance, Memory, Trauma (Museum Tusculanum Press, 2013).

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Khan, Amara. "Vision of Gender in Girish Karnad's Hayavadana: Functions of Multiplexed Corporal Masks." Global Social Sciences Review VI, no. I (March 30, 2021): 148–57. http://dx.doi.org/10.31703/gssr.2021(vi-i).15.

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Through the integration of the local Yakshagana and the western Brechtian Epic theatre practices, Girish Karnad through Hayavadana (1971) has formed a brilliant theatre show. One theatrical device, apart from the folk-theatre motifs, is the utilization of physical masks on stage. The reading examines different techniques used by Karnad, which provide the staging of masks successful in theatre. It furthermore focuses on the objectives, techniques, and types of mask treatment in expressions of disguise and revelation at the physical level. The purpose of this exploration is to make a complete study of the expressive masks used in Hayavadana (1971) to interpret the proposed reality of the characters. The qualitative approach has been adopted as a methodology where the interpretive method of investigation has been engaged to search for the secreted meanings in the text. Professed through the lens of select theoretical structure, Hayavadana becomes a site of diversity and range.

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Alker, Gwendolyn. "Stretching the Truth Way into the Future: Cynthia Hopkins's The Success of Failure (Or, The Failure of Success)." TDR/The Drama Review 54, no. 1 (March 2010): 167–71. http://dx.doi.org/10.1162/dram.2010.54.1.167.

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Cynthia Hopkins is the latest “It-girl” on the contemporary theatre scene of New York City. Her recent The Success of Failure (Or, The Failure of Success) is the third installment of the Accidental Nostalgia trilogy, a poetic and enigmatic multimedia epic that is part autobiography, part science fiction, part none of the above.

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Fei, Faye Chunfang. "Huang Zuolin: Michael Chekhov’s Link to China’s Modern Theatre." New Theatre Quarterly 22, no. 3 (July 11, 2006): 235–48. http://dx.doi.org/10.1017/s0266464x06000443.

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The folllowing article is a revised and edited version of a keynote address given by Faye Chunfang Fei at the Michael Chekhov Symposium, ‘Theatre of the Future?’, in November 2005 – held at Dartington Hall, where the actor and director Huang Zuolin worked under Chekhov’s guidance in 1936, an experience which helped to shape his lifelong work in uniting the best in western theatrical traditions with those of his native China. Faye Chunfang Fei traces this formative influence, along with those of Stanislavsky, of Brechtian Epic Theatre, and of traditional and modern Chinese forms, in shaping some of the major productions of probably the most influential figure in the Chinese theatre of the later twentieth century. Faye Chunfang Fei received her doctorate in Theatre Studies from the Graduate Center of City University of New York in 1991, and taught theatre in the United States for nine years before taking her present position of Professor of English and Drama at East China Normal University, Shanghai. Her publications include Chinese Theories of Theatre and Performance from Confucius to the Present (University of Michigan Press, 1999), and she is also an internationally produced playwright.

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Mohan Ghosh, Soumya, and Rajni Singh. "Demythologizing Draupadī." Archiv orientální 82, no. 3 (December 13, 2014): 495–514. http://dx.doi.org/10.47979/aror.j.82.3.495-514.

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Draupadī, the wife of the five Pāṇḍavas in the Mahābhārata, is a much discussed character who has been interpreted in various ways, for example as a tragic character, the heroine of the epic, and even as a witch who is responsible for causing mass destruction, the Kurukṣetra war. With all the associated complexities, Draupadī remains one of the most intriguing of characters, a figure who has baffled readers and critics alike over the ages. The present study seeks to analyze the explications of one of the most haunting episodes of the Mahābhārata, the disrobing of Draupadī, as portrayed in contemporary folk art and theatre, which seek to demythologize one of the most controversial characters in the canon of Indian literature and deconstruct the Phallocentric ideology that informs the epic. The study takes into consideration Saoli Mitra’s play, Nāthavatī anāthavat (“Five Lords, Yet None a Protector”), which is an attempt to view Draupadī through “a pair of woman’s eyes,” together with Teejan Bai’s dramatized rendering of Draupadī cīrharaṇ. It seeks to draw comparisons with the original epic as well as between the works of these two theatre artists and their style of narration in order to evaluate how far they have succeeded in providing radically different interpretations of the character while providing the essential message of the episode. These two artists share some striking characteristics as they take up the rural folk tradition and enter the male bastion, using dramatized theatrical techniques, such as live music and dance to act out multiple roles, all the while recontextualizing the episodes, often offering a social critique, demythologizing the myth, and presenting the essential message of the epic that is expressed in mythical terms.

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Faquin, César Biégas, and Denize Araujo. "Visual hybridizations in two audiovisual productions." Novos Olhares 9, no. 1 (July 10, 2020): 142–54. http://dx.doi.org/10.11606/issn.2238-7714.no.2020.171999.

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This paper aims to analyze and discuss two films that present hybrid aesthetics: Lars von Trier’s Dogville (2003) and Welchman´s and Kobiela´s Loving Vincent ( 2017). Dogville evokes the theatre language in its construction and develops an intertextual relationship by using Brecht’s epic theatre, while Loving Vincent is a tribute film to Vincent van Gogh, essentially intertextual because it is based on letters that van Gogh once wrote, as well as his own works of art. The theoretical frame of reference on the processes of dialogism, polyphony, hybridization, intermediality and intertextuality is provided by Araujo, Bazin, Bakhtin, Brecht, Kristeva, Metz, Muller, Nagib e Rajewski.

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Faber, Riemer A. "INTERMEDIALITY AND EKPHRASIS IN LATIN EPIC POETRY." Greece and Rome 65, no. 1 (March 15, 2018): 1–14. http://dx.doi.org/10.1017/s0017383517000183.

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The concept of intermediality arose in the theoretical discourse about the relations between different systems or products of meaning, such as the relations between music and art, or image and text. The word gained currency in the 1980s in German- and French-language studies of theatre performance, and in scholarship on opera, film, and music, in order to capture the notion of the interconnections between different art forms. For reasons of utility, the concept has been divided into three kinds: intermediality may refer to the combination of media (as in opera, in which music, dance, and song are conjoined into one aesthetic experience); the transformation or transposition of media (as in a film version of a book); and intermedial references or connections, whereby attention is drawn to another system of meaning, as in the references in literature to a work of art. The term has entered the field of classics especially via the study of the relations between the narrative and inscriptional modes in literary epigram.

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Hilton, Leon J., and Iván A. Ramos. "“Madness Is Contagious”: Language and Violence in the Goodman Theatre’s 2666." TDR/The Drama Review 61, no. 2 (June 2017): 166–72. http://dx.doi.org/10.1162/dram_a_00654.

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A marathon adaptation of Roberto Bolaño’s epic novel 2666 at Chicago’s Goodman Theatre revealed how the act of artistic creation has become implicated in the global machinery of political violence. Repeated throughout the five-hour play, the refrain “madness is contagious” seems to permeate 2666 like the stench of a body left to decompose on the side of a road.

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Drozdowska, Karolina. "Granice przestrzeni i granice rzeczywistości w dramacie epickim Jensa Bjørneboe – na podstawie "Til lykke med dagen" (1965)." Politeja 16, no. 1(58) (October 31, 2019): 405–22. http://dx.doi.org/10.12797/politeja.16.2019.58.22.

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The Borders of Space and Reality in Jens Bjørneboe’s Epic Drama – Based on "Til lykke med dagen" (1965) The aim of this paper is to present the concept of Jens Bjørneboe’s version of epic drama. This phenomenon is explained with the help of a “border”‑criterium, showing how the Norwegian author established, defined and crossed borders on many different levels in his dramatic works and their adaptations on stage. Bjørneboe is presented as an author who not only consciously uses the border‑criterium to manipulate space and reality in his play "Til lykke med dagen", but also expands or even crosses borders of theatrical theories and conventions, mainly Bertolt Brecht’s concepts. His “epic plays” are hybrid in their forms, joining different European traditions and expanding beyond what was common and accepted in the peripheral (both geographically and culturally) Norwegian theatre world of the 1960’s. Jens Bjørneboe is presented as an author of transgression, one of the first “to cast off the Ibsenite leg‑irons”.

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Park, Busoon. "Creating a Monster : Fucking A Read in Brecht’s Theory of Epic Theatre." Journal of Mirae English Language and Literature 23, no. 1 (February 28, 2018): 99–118. http://dx.doi.org/10.46449/mjell.2018.02.23.1.99.

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Davis, R. G. "The Politics, Packaging, and Potential of Performance Art." New Theatre Quarterly 4, no. 13 (February 1988): 17–31. http://dx.doi.org/10.1017/s0266464x00002554.

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Is the ‘Performance art’ whose influence is pervasive in today's American theatre truly in the ‘tradition’ of the avant-garde – or merely modish? In an age where fashions, whether in theatre, clothing. or motor cars. are manufactured to facilitate the turnover necessary for mass-produced obsolescence, does ‘imagist’ theatre serve as a force for social change – or merely titillate palates as jaded by yesterday's art as by yesterday's styles? R. G. Davis looks at the ways in which visually- oriented forms of theatre have been constructed and received in America since the ‘happenings’ of the early ‘sixties – and at the changing political climate since that time, which has itself modified the impact of any artistic statement. He asks whether the progressive theatre worker should in today's reactionary climate regard such forms as suspect, or look for ways of harnessing them to the creation of a ‘dialectical view of pleasure’ through the multi-faceted potential of epic theatre. R. G. Davis, who was founding director of the San Francisco Mime Troupe in the 'sixties, is a leading director of Brecht and, more recently, of Dario Fo in the United States, and is currently directing his adaptation of llya Ehrenburg'sLife of the Automobile as an imagistc theatre piece. He has been a regular contributor to TQ and NTQ.

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Benedičič, Luka. "Gestus and Taboo: A Study of Bertolt Brecht." Amfiteater 9, no. 2021-2 (June 30, 2022): 316–29. http://dx.doi.org/10.51937/amfiteater-2022-1/316-329.

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The paper addresses Brecht’s concept of Gestus and proposes an original reading of it, parallel to Roland Barthes’s semiological theory. It proposes the view that a gesture becomes a Gestus when it is interpellated into myth. It follows that the Gestus also interpellates into relations, which is, at the same time, its connecting and disconnecting power. The author presents some insights from the theory of ritual and unpacks them to identify some of the ritual’s key characteristics that simultaneously correspond to Brecht’s epic theatre. He does this with an awareness of the ontological differences between ritual and theatre and without the intention of locating Brechtian theatre at any specific locus in the ritual-theatre relation. He intends to think about this relation so that it reveals further insights into the conceptual and practical nature of Brecht’s estrangement effect. Finally, the author recognises its experimental and pedagogical power in its persistent, repetitive intervention in social myths and taboos, which is not only a matter of method but also a matter of initiating in and practising a specific ontology.

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Kalidasan, R., and R. K. Jaishree Karthiga. "Girish Karnad's Hayavadana - A Setting for Sacred and Profane." Shanlax International Journal of English 7, no. 4 (September 1, 2019): 57–61. http://dx.doi.org/10.34293/english.v7i4.599.

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Hayavadana, a multiplex play, offers various binary themes for discussion. By combining the indigenous Yakshagana and the western Brechtian Epic theatre practices, Girish Karnad has created a unique theatre display, presenting it as a social and religious satire that point to the persistent pursuit of the humanity to achieve perfection. The plot and the sub-plot of the play get interlocked by raising questions on identity and the nature of reality. The dramatist intentionally effects a dynamic communication between the audience and the performance, noting that the audience too are not separate from such an existential predicament. This Verfremdungseffekt or the “alienation effect”, is achieved through a number of devices. One such device, apart from the folk-theatre motifs, is the philosophical survey of the concepts, ‘Sacred’ and the ‘Profane’. This paper ventures to show how these concepts add further investigation of the play.

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Łubieniewska, Ewa. "Portret „teatrała”. Tadeusz Kudliński – krytyk..." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 18 (December 12, 2018): 104–12. http://dx.doi.org/10.24917/20811853.18.8.

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Tadeusz Kudliński remained in the memory of Cracovians, above all, as a theatre critic and the author of books dedicated to this topic, which have been republished many times. Serving the function of an educational mission, they combined a harmonious perspective of a historian, researcher, critic, polemicist and apologist, who was also a great story-teller. The role of a ‘theatre man’, which he assumed, also included contacts with amateur theatre, discussions with audience and cooperation with the Theatre Lovers Club. Views on art which had clashed in the preceding century, were clearly reflected in the monographs and collections of reviews written by the author, for whom the history of the theatre was, in fact, the history of drama. For years, Kudliński consistently carried out his ‘theatre lesson’. It revolved around numerous issues – from the description of various theatrical aesthetics, through the search for ‘a Polish style’ of performance, to the characterisation of experimental groups (e.g. Grotowski’s or student theatre). The critic placed experiment on the side of cultural life, on no account in the popular theatre, therefore, he criticised all Polish directors from the second half of the 20th century who staged ‘experimentally’, especially classics. Being a traditionalist and a supporter of theatrical illusion, he attacked Brecht’s model of epic performance, glorifying ”the process of actor transformation”, although he emphasised that it doesn’t have to ”concern only reality.” He provoked, irritated – and taught, which can be confirmed by the fact that his books about theatre are still widely read nowadays.

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Mitchell, Rick. "Epic Cruelty: On Post-Pandemic Performance." New Theatre Quarterly 37, no. 2 (April 29, 2021): 119–36. http://dx.doi.org/10.1017/s0266464x21000026.

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As today’s catastrophic Covid-19 pandemic exacerbates ongoing crises, including systemic racism, rising ethno-nationalism, and fossil-fuelled climate change, the neoliberal world that we inhabit is becoming increasingly hostile, particularly for the most vulnerable. Even in the United States, as armed white-supremacist, pro-Trump forces face off against protesters seeking justice for African Americans, the hostility is increasingly palpable, and often frightening. Yet as millions of Black Lives Matter protesters demonstrated after the brutal police killing of George Floyd, the current, intersecting crises – worsened by Trump’s criminalization of anti-racism protesters and his dismissal of science – demand a serious, engaged, response from activists as well as artists. The title of this article is meant to evoke not only the state of the unusually cruel moment through which we are living, but also the very different approaches to performance of both Brecht and Artaud, whose ideas, along with those of others – including Benjamin, Butler, Latour, Mbembe, and Césaire – inform the radical, open-ended, post-pandemic theatre practice proposed in this essay. A critically acclaimed dramatist as well as Professor of English and Playwriting at California State University, Northridge, Mitchell’s published volumes of plays include Disaster Capitalism; or Money Can’t Buy You Love: Three Plays; Brecht in L.A.; and Ventriloquist: Two Plays and Ventriloquial Miscellany. He is the editor of Experimental O’Neill, and is currently at work on a series of post-pandemic plays.

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Cixous, Hélène. "‘Humanity Doesn’t Exist Yet’: Democracy as a Kind of Prophecy." New Theatre Quarterly 33, no. 3 (July 10, 2017): 203–15. http://dx.doi.org/10.1017/s0266464x17000252.

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This roundtable discussion with Hélène Cixous took place at St John's College, Cambridge, on 20 September 2014 as part of the Cambridge ‘Conference for a Poetics of Critical Political Theatre in Europe’. It was subsequently transcribed and prepared for publication by Joseph Long and Eva Urban to pay homage to the acclaimed critical theorist, novelist, and dramatist Hélène Cixous on her eightieth birthday on 5 June 2017, and to celebrate her important contribution in particular to political European theatre. The conversation centres on the recurring themes of her major plays, many of which were written in creative collaboration with Ariane Mnouchkine and the Théâtre du Soleil, where they were performed. Her epic modern tragedies are deeply concerned with ethics, politics, social criticism, and ideas of utopian social projects and their tragic failures. Here Cixous, with Maria Shevtsova, Joseph Long, Eric Prenowitz, Marta Segarra, and Eva Urban highlight both the passionate political commitment of her plays and their innovative textual and poetic forms within the wider context of Cixous's writings for the theatre.1 The conversation followed a keynote address by NTQ co-editor Maria Shevtsova, attended by Hélène Cixous, prior to the roundtable discussion, and published as ‘Political Theatre in Europe: East to West, 2007–2014’, in New Theatre Quarterly, XXXII, No. 2 (May 2016).

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Journal articles on the topic 'Epic Theatre'

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