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audience to understand intellectually the characters' dilemmas and the wrongdoing producing these dilemmas exposed in his dramatic plots. By being thus "distanced" emotionally from the characters and the action on stage, the audience could be able to reach such an intellectual level of understanding (or intellectual empathy); in theory, while alienated emotionally from the action and the characters, they would be empowered on an intellectual level both to analyze and perhaps even to try to change the world, which was Brecht's social and political goal as a playwright and the driving force behind his dramaturgy.
320:, a traditional form of Marathi theatre. Mujumdar argues that distancing effects have already been present in Tamasha; albeit the concept itself has yet been conceptualized or coined during the 18th century (i.e. the time whereby Tamasha was considered as the popular folk arts). Through songs, narratives, dances, music, and commentaries that are embedded within Tamasha, the audience is said to be unconsciously performing a social role and achieving the distancing effects advocated by Brecht.
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mind that serves to disabuse them of the notion that what they are watching is necessarily an inviolable, self-contained narrative. This effect of making the familiar strange serves a didactic function insofar as it aims to teach the viewer not to take the style and content for granted, since (proponents argue) the theatrical medium itself is highly constructed and contingent upon many cultural and economic conditions.
247:
techniques, such as playing dialogue forward to remind the audience that there is no fourth wall, or guiding the cast to act "in quotation marks". The actor (usually with the director's permission) may play scenes with an ironic subtext. These techniques and many more are available for artists in different aspects of the show. For the playwright, reference to
155:, that Brecht first used the German term in print to label an approach to theater that discouraged involving the audience in an illusory narrative world and in the emotions of the characters. Brecht thought the audience required an emotional distance to reflect on what was being presented in critical and objective ways, rather than being
223:"observes himself", his objective is "to appear strange and even surprising to the audience. He achieves this by looking strangely at himself and his work". Whether Brecht intended the distancing effect to refer to the audience or to the actor or to both audience and actor is still controversial among teachers and scholars of "
120:", combined with John Willett's 1964 translation of Brecht's 1935 coinage as "alienation effect"—and the canonization of both translations in Anglophone literary theory in the decades since—has served to obscure the close connections between the two terms. Not only is the root of both terms "strange" (
222:
besides the three surrounding him ... The audience can no longer have the illusion of being the unseen spectator at an event which is really taking place". The use of direct audience-address is one way of disrupting stage illusion and generating the distancing effect. In performance, as the performer
209:
Brecht wanted to "distance" or to "alienate" his audience from the characters and the action and, by dint of that, render them observers who would not become involved in or to sympathize emotionally or to empathize by identifying individually with the characters psychologically; rather, he wanted the
246:
Actors, directors, and playwrights may draw on alienating effects in creating a production. The playwright may describe them in the script's stage directions, in effect requiring them in the staging of the work. A director may take a script that has not been written to alienate and introduce certain
331:
theatre. Even though Likay is performed in a way which could be perceived as evoking Brecht's alienation effect, Brechtian acting troupes and Thai Likay troupes approaches are distinctly different. While the goal for Brecht's alienation effect in the western theatre is to make the audience always
238:
themselves in empathetic emotions and to draw them into an attitude of critical judgment may lead to reactions other than intellectual coolness. Brecht's popularization of these effects has come to dominate the understanding of its dynamics. But the particulars of a spectator's psyche and of the
230:
By disclosing and making obvious the manipulative contrivances and "fictive" qualities of the medium, the actors attempt to alienate the viewer from any passive acceptance and enjoyment of the play as mere "entertainment". Instead, the goal is to force viewers into a critical, analytical frame of
271:
Brecht's idea of distancing effects has garnered academic interest from a number of researchers in various non-Brechtian performances. Although the term "distancing effect" was first coined by Brecht, the concept has appeared before his usage. Among some notable studies on distancing effects in
87:
Brecht first used the term in his essay "Alienation
Effects in Chinese Acting" published in 1936, in which he described it as performing "in such a way that the audience was hindered from simply identifying itself with the characters in the play. Acceptance or rejection of their actions and
429:
502:
or "silent scream," following the death of
Courage's son Swiss Cheese, moved some to experience deep empathy—based on a vicarious feeling of what it is to so restrain oneself that the full expression of grief is
309:. While Rissover does not exclusively consider distancing effects of Beat Poetry as a poetry performance, the paper still demonstrates how beat poetry is able to project distancing effects to the audience.
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will often allow rapid segues from empathy to a judgmental attitude through comic distancing. A notable example of such estrangement in an
English-language script can be found in
332:
aware that they are watching a play, and not being "taken out of themselves" and thus not being distracted from the main meaning of the story, Thai Likay aims to do otherwise.
644:
Amin, Dina; أمين, دينا (2014). "Bā Kathīr's "Hārūt wa-Mārūt": Can the Qur'an Have an
Alienating Effect? / هاروت وماروت" لعلي باكثير: أيكون القران اداة تباعدية؟"".
627:""Yes,we fully realize that we're watching a play.we just don't realize that lt's brecht.": An analysis of brecht's v-effect technique used in thai likay theatre"
243:
emotional impact. Audience reactions are rarely uniform, and there are many diverse, sometimes unpredictable, responses that may be achieved through distancing.
757:
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Rissover's paper discusses the integration of twenty poems (which were either excerpted or taken as whole) by nine Beat poets into the performance of
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taught
Shklovsky's term to Brecht during Brecht's visit to Moscow in the spring of 1935. For this reason, many scholars have recently taken to using
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is a resuscitation of a long-obsolete term in German. In addition, according to some accounts, Shklovsky's
Russian friend playwright
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It may be noted that Brecht's use of distancing effects in order to prevent audience members from what he characterizes as
551:"Bertolt Brecht's concept of 'epic-drama' and alienation theory and 'Tamasha art' in Marathi theatre: A comparative study"
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It was in any case not long after returning in the spring of 1935 from Moscow, where he saw a command performance of
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utterances was meant to take place on a conscious plane, instead of, as hitherto, in the audience's subconscious".
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claims is the essence of all art. Lemon and Reis's 1965 English translation of
Shklovsky's 1917 coinage as "
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to translate both terms: "the estrangement device" in
Shklovsky, "the estrangement effect" in Brecht.
877:
305:
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1216:
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762:
An
Introduction to the Social and Political Philosophy of Bertolt Brecht: Revolution and Aesthetics
577:"Comparative Study of Performance: Swang and Bretolt Brecht's Epic Theatre and Verfremdungseffekt"
1395:
1142:
1051:
884:
809:
598:
Rissover, Fredric (January 1971). "Beat poetry, the
American dream , and the alienation effect".
515:"A comparative study: The principles of the distancing effect in Brechtian theater and Ta'ziyeh"
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The distancing effect is achieved by the way the "artist never acts as if there were a
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Furthermore, Paradee's (2015) article emphasized that the extensive use of the
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The Poetics of Difference and Displacement: Twentieth-Century Chinese-Western
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as "the V-Effekt"; many scholars similarly leave the word untranslated.
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Estrangement and the Somatics of Literature: Tolstoy, Shklovsky, Brecht
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Estrangement and the Somatics of Literature: Tolstoy, Shklovsky, Brecht
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in German), but both terms are unusual in their respective languages:
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327:(the V-effect) or "alienation effect" can be found commonly in Thai
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Additionally, Mujumdar's paper (2013) examined the elements of
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is a matter of controversy. The word is sometimes rendered as
276:(Shi'ite ritualistic passion play) (Mohd Nasir et al., 2020),
1319:
754:. Baltimore and London: Johns Hopkins University Press, 2008.
417:(Baltimore and London: Johns Hopkins University Press, 2008).
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tension aroused by a specific alienating device may actually
683:
Brecht, Bertolt; Bentley, Eric (1961). "On Chinese Acting".
284:(ancient Indian folk theatre) (Sharma & Kashyap, 2018),
383:"Art as Device", translated by Benjamin Sher in Shklovsky,
513:
Hashim, Mohd Nasir; Alizadeh, Farideh (1 January 2020).
780:Brecht on Theatre: The Development of an Aesthetic
396:Lee T. Lemon and Marion J. Reis, eds. and trans.,
1407:
624:
575:Sharma, Sandhya; Kashyap, Satish (1 July 2018).
267:Distancing effects in non-Brechtian performances
744:. Hong Kong: Hong Kong University Press, 2008.
512:
387:(Bloomington, IL: Dalkey Archive Press, 1991).
159:as conventional entertainment attempts to do.
817:
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292:(Thai folk theatre) (Tungtang, 2015), and
40:, featuring a large scene-setting caption
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400:(Lincoln: University of Nebraska Press).
34:Set design for a production of Brecht's
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1178:The Trial of Joan of Arc at Rouen, 1431
445:
374:(New York: Hill and Wang, 1964), p. 91.
316:(which includes distancing effects) in
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1416:Bertolt Brecht theories and techniques
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1368:The Modern Theatre Is the Epic Theatre
955:Rise and Fall of the City of Mahagonny
581:Indian Journal of Health and Wellbeing
439:
427:"Alienation Effects in Chinese Acting"
906:Downfall of the Egotist Johann Fatzer
805:
718:. London and New York: Verso, 1998.
625:Paradee Tungtang (May–August 2015).
498:Frau Weigel’s famous Gestus of the
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1031:Fear and Misery of the Third Reich
831:
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162:The proper English translation of
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941:The Baden-Baden Lesson on Consent
790:. New York: Hill and Wang, 1964.
132:is a neologism in Russian, while
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1094:The Resistible Rise of Arturo Ui
1024:The Horatians and the Curiatians
272:non-Brechtian performances are:
1374:A Short Organum for the Theatre
1122:Schweyk in the Second World War
1066:Mother Courage and Her Children
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1157:Die Verurteilung des Lukullus
1108:The Visions of Simone Machard
1017:Round Heads and Pointed Heads
532:10.1080/23311983.2020.1790195
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1080:Mr Puntila and His Man Matti
982:Saint Joan of the Stockyards
519:Cogent Arts & Humanities
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1087:The Good Person of Szechwan
934:The Flight Across the Ocean
764:. Amsterdam: Rodopi. 2014.
646:Journal of Qur'anic Studies
398:Russian Formalist Criticism
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1353:Separation of the elements
1129:The Caucasian Chalk Circle
989:The Exception and the Rule
44:("Poland") above the stage
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1238:What Keeps Mankind Alive?
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878:Mysteries of a Barbershop
839:
782:. London: Methuen, 1964.
612:10.1080/03634527109377854
446:Jameson, Fredric (1998).
227:" and Brechtian theatre.
112:), which literary critic
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1431:Metafictional techniques
1217:Reminiscence of Marie A.
549:Mujumdar, Smita (2013).
168:defamiliarization effect
104:notion of the device of
1143:The Days of the Commune
885:In the Jungle of Cities
685:The Tulane Drama Review
157:taken out of themselves
1297:Non-Aristotelian drama
1052:How Much Is Your Iron?
1038:Señora Carrar's Rifles
631:มนุษยศาสตร์สังคมศาสตร์
432:July 19, 2013, at the
66:
45:
1361:Messingkauf Dialogues
1164:Report from Herrnburg
1073:The Trial of Lucullus
1010:The Seven Deadly Sins
741:Intercultural Theatre
658:10.3366/jqs.2014.0171
347:Theatre of the Absurd
52:, also translated as
33:
1421:Cinematic techniques
1115:The Duchess of Malfi
927:The Threepenny Opera
409:For discussion, see
27:Theatrical technique
871:Driving Out a Devil
385:The Theory of Prose
172:estrangement effect
77:credited to German
73:), is a concept in
1199:Trumpets and Drums
857:Drums in the Night
600:The Speech Teacher
325:Verfremdungseffekt
306:The American Dream
294:Quranic narratives
288:(Rissover, 2009),
280:(Mujumdar, 2013),
204:Verfremdungseffekt
164:Verfremdungseffekt
110:priyom ostraneniya
108:(приём остранения
98:Verfremdungseffekt
67:Verfremdungseffekt
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1309:Defamiliarization
1252:Einheitsfrontlied
1101:Hangmen Also Die!
913:The Elephant Calf
778:, ed. and trans.
748:Robinson, Douglas
732:978-1-85984-809-8
716:Brecht and Method
452:. London: Verso.
449:Brecht and method
372:Brecht on Theatre
196:Brecht and Method
184:distancing effect
180:alienation effect
118:defamiliarization
102:Russian Formalist
100:is rooted in the
54:alienation effect
50:distancing effect
18:Alienation effect
16:(Redirected from
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1379:Street scene
1366:
1359:
1325:
1318:
1308:
1289:
1285:Epic theatre
1276:Theories and
1231:Pirate Jenny
1224:Alabama Song
1209:Poems, songs
1197:
1190:
1183:
1176:
1169:
1162:
1155:
1148:
1141:
1134:
1127:
1120:
1113:
1106:
1099:
1092:
1085:
1078:
1071:
1064:
1057:
1050:
1043:
1036:
1029:
1022:
1015:
1008:
1001:
994:
987:
980:
975:The Decision
973:
966:
960:
953:
946:
939:
932:
925:
918:
911:
904:
897:
890:
883:
876:
869:
862:
855:
848:
779:
761:
751:
738:
715:
688:
684:
649:
645:
639:
630:
620:
606:(1): 36–43.
603:
599:
593:
584:
580:
570:
561:
558:Lapis Lazuli
557:
522:
518:
508:
499:
494:
485:
476:
448:
441:
422:
414:
405:
397:
392:
384:
379:
371:
366:
324:
322:
311:
304:
301:Edward Albee
298:
270:
260:
245:
240:
235:
233:
229:
217:
208:
203:
202:abbreviates
195:
191:
187:
183:
179:
175:
171:
167:
163:
161:
156:
146:
142:estrangement
141:
133:
129:
125:
124:in Russian,
121:
109:
105:
97:
95:
86:
70:
53:
49:
47:
41:
35:
1426:Film theory
1259:Kinderhymne
1003:Kuhle Wampe
962:Der Jasager
352:Metafiction
286:beat poetry
261:The Hostage
251:or musical
225:Epic Acting
220:fourth wall
192:Entfremdung
188:Verfremdung
153:Mei Lanfang
134:Verfremdung
1410:Categories
1291:Lehrstücke
1278:techniques
1266:Die Lösung
1171:Coriolanus
996:The Mother
737:Min Tian,
503:prevented.
489:Willett 92
480:Willett 91
358:References
342:Mooreeffoc
314:epic drama
249:vaudeville
214:Techniques
130:ostranenie
79:playwright
1343:Not / But
1150:The Tutor
948:Happy End
892:Edward II
864:A Wedding
96:The term
59:‹See Tfd›
1396:Category
1192:Don Juan
1185:Turandot
1136:Antigone
840:Dramatic
666:24280431
468:39477726
430:Archived
336:See also
274:Ta'ziyeh
263:(1958).
241:increase
71:V-Effekt
726:(10).
705:1125011
564:: 1–13.
318:Tamasha
236:bathing
1327:Gestus
1059:Dansen
794:
786:
768:
730:
722:
703:
664:
466:
456:
253:revues
122:stran-
92:Origin
63:German
1320:Fabel
842:works
734:(13).
701:JSTOR
662:JSTOR
554:(PDF)
329:Likay
290:Likay
194:. In
190:with
182:, or
126:fremd
42:Polen
850:Baal
792:ISBN
784:ISBN
766:ISBN
728:ISBN
720:ISBN
464:OCLC
454:ISBN
48:The
693:doi
654:doi
608:doi
527:doi
303:'s
259:'s
69:or
1412::
965:/
760:.
750:.
714:.
699:.
687:.
660:.
650:16
648:.
629:.
604:20
602:.
583:.
579:.
560:.
556:.
541:^
521:.
517:.
462:.
413:,
198:,
178:,
174:,
170:,
84:.
65::
1268:"
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1229:"
1226:"
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1215:"
825:e
818:t
811:v
798:.
772:.
707:.
695::
689:6
668:.
656::
633:.
614:.
610::
585:9
562:3
535:.
529::
523:7
470:.
56:(
20:)
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