BRECHT - ALIENATION TECHNIQUES
Narration
Narration is used to remind the audience that what they’re watching is a presentation of a story.
Sometimes the narrator will tell us what happens in the story before it has happened. This is a good
way of making sure that we don’t become emotionally involved in the action to come as we already
know the outcome.
Direct address
Speaking directly to the audience breaks the fourth wall and destroys any illusion of reality. An
example would be the moment where Grusha pleads to save baby Michael in The Caucasian Chalk
Circle: “I brought him up, shall I also tear him to bits? I can’t”.
Coming out of role / third person narration
Commenting upon a character as an actor is a clear way of reminding the audience of theatricality.
Speaking the stage directions
This device was used by Brecht more frequently in rehearsal than performance. It helps distance the
actor from the character they’re playing. It also reminds the audience that they’re watching a play and
forces them to study the actions of a character in objective detail.
Multi-roling
Multi-roling is when an actor plays more than one character onstage. The differences in character are
marked by changing voice, movement, gesture and body language but the audience can clearly see
that the same actor has taken on more than one role. This means the audience are more aware of the
fact that they are watching a presentation of events. Cross-sex casting is also possible in Epic theatre
as we don’t need to suspend our disbelief.
Split-role
This is where more than one actor plays the same character. For instance, the actor playing the main
character might rotate from scene to scene. This keeps that character representational and inhibits
emotional involvement and attachment on the part of the audience.
Placards
A placard is a sign or additional piece of written information presented onstage. Using placards might
be as simple as holding up a card or banner. Multimedia or a PowerPoint slideshow can also be used
for this effect. What’s important is that the information doesn’t just comment upon the action but
deepens our understanding of it. For example, a married couple are arguing and the wife is very
upset. If the actress held up a placard saying ‘I’m miserable’ that wouldn’t tell us anything about the
character that we didn’t already know. However, if her placard said ‘I’m having an affair’ or ‘I’ve never
loved him’ the audience would be forced to consider other aspects of their relationship and to think
about deeper reasons behind her tears.
Minimal set / costume / props
Set, costume and props are all kept simple and representational. Although the stage setting was
usually minimal, there was always a sense of authenticity to production elements. For example,
Mother Courage’s cart in the National Theatre production is stocked full with realistic props that
Mother Courage would need for authenticity.
Symbolic props
Often one item can be used in a variety of ways. A suitcase might become a desk, or a car door or a
bomb.
Narration
Narration is used to remind the audience that what they’re watching is a presentation of a story.
Sometimes the narrator will tell us what happens in the story before it has happened. This is a good
way of making sure that we don’t become emotionally involved in the action to come as we already
know the outcome.
Direct address
Speaking directly to the audience breaks the fourth wall and destroys any illusion of reality. An
example would be the moment where Grusha pleads to save baby Michael in The Caucasian Chalk
Circle: “I brought him up, shall I also tear him to bits? I can’t”.
Coming out of role / third person narration
Commenting upon a character as an actor is a clear way of reminding the audience of theatricality.
Speaking the stage directions
This device was used by Brecht more frequently in rehearsal than performance. It helps distance the
actor from the character they’re playing. It also reminds the audience that they’re watching a play and
forces them to study the actions of a character in objective detail.
Multi-roling
Multi-roling is when an actor plays more than one character onstage. The differences in character are
marked by changing voice, movement, gesture and body language but the audience can clearly see
that the same actor has taken on more than one role. This means the audience are more aware of the
fact that they are watching a presentation of events. Cross-sex casting is also possible in Epic theatre
as we don’t need to suspend our disbelief.
Split-role
This is where more than one actor plays the same character. For instance, the actor playing the main
character might rotate from scene to scene. This keeps that character representational and inhibits
emotional involvement and attachment on the part of the audience.
Placards
A placard is a sign or additional piece of written information presented onstage. Using placards might
be as simple as holding up a card or banner. Multimedia or a PowerPoint slideshow can also be used
for this effect. What’s important is that the information doesn’t just comment upon the action but
deepens our understanding of it. For example, a married couple are arguing and the wife is very
upset. If the actress held up a placard saying ‘I’m miserable’ that wouldn’t tell us anything about the
character that we didn’t already know. However, if her placard said ‘I’m having an affair’ or ‘I’ve never
loved him’ the audience would be forced to consider other aspects of their relationship and to think
about deeper reasons behind her tears.
Minimal set / costume / props
Set, costume and props are all kept simple and representational. Although the stage setting was
usually minimal, there was always a sense of authenticity to production elements. For example,
Mother Courage’s cart in the National Theatre production is stocked full with realistic props that
Mother Courage would need for authenticity.
Symbolic props
Often one item can be used in a variety of ways. A suitcase might become a desk, or a car door or a
bomb.
