Archive for January, 2016

How character engage with audience

Wednesday, January 27th, 2016

 when I read about how Brecht was influenced by l Chinese theatre al lot. 

He also had an original and inspired talent to bring out a dynamic theatrical style to express his views.
Brecht definitely wanted his audience to remain interested and engaged by the drama otherwise his message would be lost. It was emotional investment in the characters he aimed to avoid
His approach to theatre suits work which has a political, social or moral message. You might want to explore a theme or issue and make your audience consider varying viewpoints or sides to an argument. 
Gestus, another Brechtian technique, is a clear character gesture or movement used by the actor that captures a moment or attitude rather than delving into emotion. 
Could the audience tell by the actor’s gestures alone what was happening in the scene?
Brecht didn’t want the actors to be the character onstage, only to show them as a type of person. Brecht will often refer to his characters by archetypal names, such as ‘The Soldier’ or ‘The Girl’.
 The interpretation will be built on the character’s social role and why they need to behave as they do, rather than looking inwardly at emotional motivation.So we judge the character and their situation, rather than just empathising with them.

It’s worth listening to the song ‘Mack the Knife’ from The Threepenny Opera by Brecht and Kurt Weil. Notice how the musical arrangement and melody are upbeat and joyous, yet the lyrics are sinister and dark. This is a very Brechtian approach. One of the most famous lines from this work would still appeal to a modern audience: “Who is the bigger criminal: he who robs a bank or he who founds one?”
Gestus is also gesture with social comment. 
Epic theatre also shows an argument. It’s a clear political statement. The audience remains objective and watches a montage or a series of scenes. Standing outside the action emotionally, the audience can study the story objectively and should recognise social realities.

Techniques:

* The narration needs to be told in a montagestyle.

* Techniques to break down the fourth wall, making the audience directly conscious of the fact that they are watching a play.

* Use of a narrator. Because this character is outside the character framework, they change the relationship with the audience.

* Use of songs or music. Songs and dances are likely to provoke a more objective viewing, particularly if what you’re watching is serious and not the schmaltzy environment of a typical musical.

* Use of technology. If you project ideas onto a screen in a slide show or even have a still image there throughout each scene, it makes the audience analyse more thoroughly.

* Use of signs. If an actor starts each scene with a placard naming the scene or you have a board which is changed at the start of each scene, you’re reminding the audience about the fact that they are watching a play.

* Use of freeze frames / tableaux. This is obviously unnatural in the simple sense of that word, and should make the audience think about the frozen moment 

 As a political writer, Brecht would surely have expected a modern production to address current issues whilst remaining true to his ideals.

Bibliography:

http://www.bbc.co.uk/education/guides/zwmvd2p/revision/1

http://www.dramaonlinelibrary.com/genres/epic-theatre-iid-2483

http://reader.eblib.com/(S(r5jc50i2vdh5u3tfw5nziqak))/Reader.aspx?p=1693637&o=3433&u=23%2bsH3zePdZ82KNDHk73Xfyjpjc%3d&t=1453906788&h=B5B239AB0FEBCD1E1EE7A05075C94890C87ED436&s=41580664&ut=11225&pg=1&r=img&c=-1&pat=n&cms=-1&sd=2

The Five Keys to Telling An Engaging Story, from Quentin Tarantino

http://reader.eblib.com/(S(o4akqn4ankct4n4cvonuybpq))/Reader.aspx?p=1693637&o=3433&u=23%2bsH3zePdZ82KNDHk73Xfyjpjc%3d&t=1453945073&h=42C87D2EB332E31C72A801A54BB268CFB419C7E1&s=41599040&ut=11225&pg=1&r=img&c=-1&pat=n&cms=-1&sd=2#

How to Get People Emotionally Engaged with Your Story

http://www.visualwriter.com/ScriptDr/Advanced/EngageAudience.htm

Crafting Dialogue Like Quentin Tarantino

https://www.zhihu.com/question/21449852

http://baike.baidu.com/link?url=V-gg-MlLGBMyCr6bRUBIIBc92XNjMRxSMm9RHgODf-PC2FSx3MSfwdicPtjtMpJv

史诗剧的概念源于作为诗歌实践的理论家布莱希特,主要在于表明这种戏剧希望使观众放松,一点也不紧张地跟随情节的发展。当然,这种观众总是以集体的形式出现。这是戏剧观众区别于单独与文本在一起的读者的地方。再者,这种观众由于是集体的,所以往往感到必须即席做出反应。据布莱希特所说,这种反应应该是经过深思熟虑的,因此也是一种放松的反应——简言之,是对剧情感兴趣之人的反应。这种兴趣有两个客体。第一是情节:它必须是使观众在关键地方根据自己的亲身体验对其加以抑制。第二是表演:它应该在艺术上达到清澈透明。(这种表现方式决不是没有艺术性的,它首先要求导演要有艺术经验和敏锐的鉴赏力。)史诗剧吸引有利害关系的“井非不合理地思考”的观众。布莱希特并没有对大众视而不见,他们有限的思维实践可以用这句活来说明。在巧妙地但肯定不通过文化参与的方式努力使观众对戏剧感兴趣的过程中,一种政治意志占上风。

http://history.sina.com.cn/his/zl/2013-12-01/222375566.shtml

http://baike.baidu.com/item/%E5%BD%A2%E4%BD%93%E6%88%8F%E5%89%A7?fr=aladdin

http://wenku.baidu.com/link?url=H1V_ifYeqD-GQTQjvMnH4DsngiYyqW6mV_bVCDFupM987Mz59Q8xEpLOi55gdd8jJ5kLdT__3bzMolvuLLtjOWkgsdZ7Zs03zg8fMVK938a

http://baike.baidu.com/link?url=_Ydt7jSZrQG_1S3hjD8W6DQiDmEI650ROVv232kGN0P4duVpolO_Si3AAYDpNz99pq65IZSG7R8pSwqslZMFDvHaNaQVIvPidbLJJ7auSqUSbi4FWR38-AiP0e_LsNFxfwltPdHh_LhWhOC7wPh6vkMGGqnt_-oBhnJplhkPwhG

Story of

Wednesday, January 20th, 2016

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