Manya Frydman Perel (born in 1924) survived eight concentration camps and dedicated almost fifty years of her life to educating thousands of students on the horrors of Nazi crimes against humanity. ...Her death on July 29, 2020, inspired the foundation of “The Manya Project” that pays homage to survivors by keeping their personal narratives about the Holocaust visually and aurally alive through theatrical performance. This study offers strategies for creating scripts and performing Holocaust testimony using the Brechtian idea of Verfremdungseffekt and Gestus to respect and honor the lives of Holocaust survivors Manya Frydman Perel, Itka Frajman Zygmuntowicz (1926–2020) and Rosalie Lebovic Simon whom the author has had the privilege to meet and experience their individual testimonies.
Après le récit de la chute de Jérusalem devant l'armée de Nabuchodonosor, le lecteur du livre de Jérémie découvre aux chapitres 39 et 40 deux récits dans lesquels Nebouzaradân libère Jérémie et lui ...permet de rejoindre Guedalias; le prophète choisit alors de demeurer au milieu du peuple. La lecture suivie de ces deux récits présente une solution de continuité narrative. Même si cela interdit certaines lectures synchroniques, la remise en cause d'une hypothèse implicite sur la linéarité de la fabula permet de penser l'effet du texte en sa forme finale sur son lecteur. Contrairement aux romans classiques du XIXe siècle, on peut découvrir ici un effet similaire au Verfremdungseffekt du théâtre de Bertolt Brecht.
Le présent article analyse le film Moi, Tonya (Craig Gillespie, 2018) en se penchant particulièrement sur la technique théâtrale d’adresse directe à la caméra. Cette méthode crée un mode d’agitation ...qui fluctue entre l’effet de distanciation de Brecht et l’empathie. L’utilisation de gros plans faciaux, de zooms et de travellings dans des espaces intimes suscite des émotions chez l’auditoire à travers un récit alternatif de Tonya Harding. Cependant, les scènes sapent continuellement la confiance ainsi développée à travers le témoignage contradictoire et la figure de Tonya désignant le téléspectateur comme étant son « agresseur ». Moi, Tonya s’attaque de façon agressive aux répercussions sociales et politiques à plus grande échelle de la violence conjugale dans les ménages de faible statut socioéconomique aux États-Unis, la consommation médiatique dénuée de toute critique et les structures capitalistes.
This article analyses the film I, Tonya (Craig Gillespie, 2018) by focusing particularly on the theatrical technique of direct address to the camera. This method creates a mode of agitation which fluctuates between Brechtian Verfremdungseffekt (distanciation) and empathy. The use of facial close-ups, zooms, and tracking shots into intimate spaces develop audience emotion through an alternative narrative of Tonya Harding. However, scenes perpetually undermine the developed trust through contradictory testimony and the figure of Tonya calling the viewer her “attacker.” The film I, Tonya aggressively deals with larger social and political implications regarding domestic violence in lower socioeconomic households in the US, uncritical media consumption, and capitalist structures.
Shakespearean Dramatic theatre and Brechtian Epic theatre represent two divergent paradigms in the field of genre-drama. The plays falling under these two varying paradigms invite their readers or ...audience to learn to approach them by adopting a different theoretical perspective or critical stance. As per Martin Esslin “human capacities can change through time: human beings may learn to adjust themselves to new ways of perception …, and gain practice in accepting new ways of seeing both reality and art” (15). In the proposed study, the two plays chosen for comparative analyses are Hamlet by Shakespeare and Mother Courage and Her Children by Brecht: the former one centring on empathy, and the other one on alienation. Of the two paradigms discussed in the present study, in one type, admittedly, an emotional catharsis occurs and the second theoretically disclaims emotional catharsis.
This paper starts the research reading the hesitations of literary and theatrical criticism in its proposition to classify Tennessee Williams’s (1911-1983) dramatic writing, specially the critics ...that try to restrict the foregoing playwright works under the term “Realism”. Adverse to this criticism, the production notes from The Glass Menagerie (1944) – Williams’s Plastic Theatre manifesto – reveals the author intentions to get rid of orthodox Realism theatre conventions in his plays. Finally, the study points in Williams’s The Mutilated (1967) some remarkable qualities – expressionist techniques and uses of brechtian Verfremdungseffekt – that allude to a distinct conception of Realism.
Об’єктом цієї розвідки є жанр Lehrstück («навчальна п’єса»), основоположником якого був Бертольт Брехт (1898–1956), а послідовником й реформатором – Гайнер Мюллер (1919–1995). У нашому дослідженні ми ...спробуємо об’єднати Lehrstückе обох драматургів в єдиний комплекс – жанрову макросистему. Підставою для цього слугує експліцитна сюжетно-поетична спорідненість п’єс Брехта та Мюллера, а також єдність авторської інтенції. Lehrstück як макросистема є: 1) формою демонстрації діалектичного (аналітичного) способу мислення; 2) навчальним методом діалектичного мислення. У цій макросистемі всі складові (елементи сюжету, мотиви тощо) перебувають у стані взаємопроникнення, актуалізації, конкретизації на кожному щаблі Lehrstück-ланки. Зовнішній рівень сюжету виступає базою для внутрішнього рівня організації сюжету. Внутрішній сюжет представлений надтекстом, авторською і глядацькою інтерпретацією зображеного, прийомами метафоризації та алегоризації, які сприяють діалектичному переосмисленню подій і явищ. Інтерпретація зображеного досягається через використання зонгів, принципу монтажу та інших прийомів очуження сюжету. Як Брехт, так і Мюллер вдавалися у своїй творчості до запозичення сюжетів, проте без повного наслідування й повторення вихідного матеріалу. Авторські модифікації запозиченого матеріалу відбувалися на рівні ідейних цінностей і загальної проблематики твору. Відповідно до авторської інтенції, Lehrstückе передбачають активність як з боку виконавців, так і з боку публіки. Глядачі як повноцінні співавтори такої драматургії мають право змінювати хід подій у п’єсі та наповнювати її якісно новою проблематикою.
Gerek Osmanlı gerekse çağdaş Türk şiirinde geleneksel dize algısının bozularak görselliği ön plana alan birçok ürünün verilmesi dikkat çekicidir. Söz konusu ürünlerin değerlendirilmesinde
ve ...adlandırılmasında edebiyat araştırmacıları somut şiir ve görsel şiir kavramlarından yararlanmışlardır. Bu yazıda ise görsel şiir kavramı, şiirde görsel yapıyı ön plana çıkaran her
türlü örneği içeren bir üst başlık şeklinde kullanılarak çağdaş Türk edebiyatında söz konusu çerçevede yazılmış şiirlerin dört başlıkta sınıflandırılması için uğraş verilecektir. İlk etapta okurun otomatikleşmiş şiirsel algısını farklılaştıran ve doğadaki nesneleri okura daha iyi duyumsatmayı amaçlayarak görselliği öne çıkaran şiirler, Rus Biçimcilerinin farklılaştırma (yadırgatma) kavramıyla ele alınacaktır. İkinci olarak şiirde görselliği ideolojilerini daha iyi anlatmak için bir araç olarak kullanan şairlerin çabaları Bertolt Brecht’in yabancılaştırma etkisi kavramıyla ilişkilendirilecektir. Sözcük, hece ve harfler aracılığıyla şiirde görsel yapıyı öne çıkaran şairlerin ürünleri, somut şiir olarak vasıflandırılacaktır. Son olarak fotoğraf, resim ve sinema gibi görsel sanatların kullanıldığı şiirler görsel şiir olarak adlandırılacaktır. Böylelikle geleneksel dize algısının dışına çıkarak görsel yapıyı önceleyen şiirlerin yazılma amacı ve nitelikleri bakımından çeşitlilik gösterebileceği ve bu nedenle bahsedilen ürünlerin farklı adlandırılması gerektiği ortaya konulmaya çalışılacaktır.
Mit Kunst gehen oft spezifische Fremdheitserfahrungen einher. Nach einer verbreiteten Auffassung entstehe und wirke Kunst etwa durch Verfremdungen von Hergebrachtem; manch progressive Kunst führe zu ...Affekten des Befremdens. Allerdings wurden die vielfältigen Verknüpfungen von Kunst und Fremdheit bislang kaum eingehender untersucht.Die kunstphilosophischen und -wissenschaftlichen Aufsätze thematisieren die eigentümlichen Zusammenhänge von Kunst und Fremderfahrung - vornehmlich, aber nicht ausschließlich mit Bezug zur bildenden Kunst - und rufen dazu auf, den Themenkomplex (neu) zu verhandeln.
In his book The Presence of the Actor, Joseph Chaikin says that he has learnt more about acting and character from the time he spent with Julius Orlovsky than from any other single experience he has ...had. Julius was a schizophrenic
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and Chaikin met him when they were both working on Robert Frank's film Me and My Brother, made between 1965 and 1968.
In this article I would like to argue that Joseph Chaikin's understanding of the presence of the actor, as it is evidenced in his book published in 1972, as well as in traces of documentation of training and performance, was crucially influenced by a sense of ontological insecurity
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in relation to notions of a single 'self and that this idea of division within a human being, and, at the same time, a recognition of the need for interconnectivity between people, was being given voice to, significantly, by R. D. Laing in his book The Politics of Experience, published in 1967, as well as in his studies of interconnectivity, Self and Others (1961), and his seminal analysis of schizophrenia, The Divided Self (1959).
Tess Akaeka Onwueme, the noted Second Generation playwright of the Nigerian National Theatre movement, moved beyond initial attempts to fashion agendas for a developing postcolonial national theatre. ...Abandoning the original, First Generation trajectory to found a unique national culture through the celebration of Nigeria's diverse literary and musical forms, she engaged more directly the political and social issues of her current national history. Inspired in part by Brechtian Epic Theatre performance style and theory, Onwueme's stagecraft sought to merge Brecht's famous 'alienation effect' with empathic character portrayals. Rejecting Brecht's view that audiences should leave aside the emotional identification with the characters for the sake of a critical, disinterested perspective, Onwueme used both traditional character empathy and Brechtian distancing devices in her plays. Moreover, her often heavy use of irony and explicit political and social allusions created a critical perspective without sacrificing the audience's emotive response to character and situation. The result was a richly textured and varied dramatic experience that included political issues of social complexity and psychological depth.
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