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Epic theatre
Epic theatre ((ドイツ語:episches Theater)) was primarily proposed by Bertolt Brecht who suggested that a play should not cause the spectator to identify emotionally with the characters or action before them, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of a climactic catharsis of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. For this purpose, Brecht employed the use of techniques that remind the spectator that the play is a representation of reality and not reality itself. By highlighting the constructed nature of the theatrical event, Brecht hoped to communicate that the audience's reality was equally constructed and, as such, was changeable.
==History==
Epic theatre was a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners who were responding to the political climate of the time through the creation of a new political theatre. Those practitioners included Erwin Piscator, Vladimir Mayakovsky, Vsevolod Meyerhold and, most famously, Bertolt Brecht. The term epic theater comes from Erwin Piscator who coined it during his first year as Director of Berlin's Volksbühne (1924-1927). Piscator aimed to encourage playwrights to address issues related to "contemporary existence" thereby creating new subject matter to stage and then staging it through the use of documentary effects, audience interaction as well as creating ways in which the audience feel distanced from the event. Although many of the concepts and practices involved in Brechtian epic theatre had been around for years, even centuries, Brecht unified them, developed the style, and popularized it. Epic theatre incorporates a mode of acting that utilises what he calls ''gestus''. The epic form describes both a type of written drama and a methodological approach to the production of plays: "Its qualities of clear description and reporting and its use of choruses and projections as a means of commentary earned it the name 'epic'."〔Bertolt, Brecht "Brecht on Theatre", page 121.〕 Near the end of his career Brecht preferred the term ''dialectical theatre'' rather than ''epic theatre'' to describe the style of theatre he pioneered. From his later perspective, the term "Epic Theatre" had become too formal a concept to be of use anymore; one of Brecht's most-important aesthetic innovations prioritized ''function'' over the sterile opposition between ''form'' and ''content''.〔Willett (1964) 281.〕 According to Manfred Wekwerth, one of Brecht's directors at the Berliner Ensemble at the time, the term refers to the "'dialecticizing' of events" that his theatre produces.〔Quoted by Willett (1964) 282.〕 which he discussed in his work "A Short Organum for the Theatre".〔Brecht "A Short Organum for the Theatre", page 276〕 A function of the style of theatre is to ensure that the audience is consistently aware that they are watching and involved in an artificial production.
Epic theatre was a reaction against popular forms of theatre, particularly the naturalistic approach pioneered by Constantin Stanislavski. Like Stanislavski, Brecht disliked the shallow spectacle, manipulative plots, and heightened emotion of melodrama; but where Stanislavski attempted to engender real human behavior in acting through the techniques of Stanislavski's system and to absorb the audience completely in the fictional world of the play, Brecht saw Stanislavski's methodology as producing escapism. Brecht's own social and political focus departed also from surrealism and the Theatre of Cruelty, as developed in the writings and dramaturgy of Antonin Artaud, who sought to affect audiences viscerally, psychologically, physically, and irrationally.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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