These intermediate-level Epic Theatre activities and student exercises cover five broad areas of Bertolt Brecht’s theories: roles and disguise, gestus, scenery, songs and music, and direct address. Each exercise has a recommended time length, totalling over 7 hours of content. Advanced-level Epic Theatre activities will be covered in a future post soon. Enjoy!
The activities in this post are part of a sequence. Teachers and students should undertake Epic Theatre beginner-level activities 1-5 before moving on to the intermediate-level activities 6-10 below.
Epic Theatre Activities for Students
Activity 6: Roles and Disguise
Objective
To explore the use of roles and disguises in Epic Theatre to illuminate, critique, or subvert societal roles and expectations.
Materials
Various costumes or props for disguise (e.g., hats, masks, capes, clothing indicative of particular professions)
Pre-Analysis
Introduction by Teacher (5 minutes)
The teacher introduces the concept of roles and disguises within the framework of Epic Theatre, citing the examples outlined below from some of Brecht’s plays.
Class Brainstorm (5 minutes)
Students brainstorm ways costumes and disguises can reveal or mask societal roles.
Roles and Disguises in Brecht Plays: Examples
Mother Courage in “Mother Courage and Her Children“
Mother Courage plays the canteen wagon driver, symbolising capitalist exploitation during the Thirty Years’ War. The character uses her “role” to survive but also suffers the loss of her children.
Galileo in “The Life of Galileo”
Galileo disguises his real scientific beliefs to escape persecution, thereby portraying the complexities and compromises of intellectual pursuit against authoritative structures.
Shen Teh/Shui Ta in “The Good Woman of Szechwan“
Shen Teh is a kind-hearted prostitute who adopts the disguise of her invented male cousin Shui Ta, to act decisively and run a business. This dual role explores societal expectations around gender and morality.
Azdak in “The Caucasian Chalk Circle”
Azdak assumes the role of a judge, albeit unconventional, revealing and critiquing the injustices and absurdities of the law and the ruling class.
Ui in “The Resistible Rise of Arturo Ui”
Ui adopts the role of a gangster to portray a critique of Adolf Hitler. The character’s disguise serves to expose the mechanisms of totalitarian rule.
Discuss Roles
Focused Discussion (15 minutes)
Break students into small groups. Each group discusses how costumes and disguises can reveal, mask, or subvert societal roles. The groups explore theoretical and practical aspects, considering historical and contemporary contexts.
Group Summaries (5 minutes)
Groups briefly share their main points with the class.
Role-play
Preparation and Rehearsal (15 minutes)
In the same small groups, students create short scenes where characters adopt disguises or switch roles. They can use the available costumes and props for this exercise.
Performance (10 minutes)
Each group performs their short scene in front of the class.
Immediate Reflection (10-15 minutes)
Following each performance, allow 1-2 minutes of immediate reflection and feedback.
Reflection and Discussion
Group Analysis (20 minutes)
The class is broken into discussion groups to analyse the implications of role changes and disguises on societal roles, ethical norms, and audience perception. This discussion is rooted in the performed scenes but should extend to broader societal and theatrical contexts.
Class Summary and Wrap-up (5 minutes)
The teacher leads the class in summarising the key takeaways from the exercise and how they relate to Epic Theatre techniques for illuminating societal roles and expectations.
Activity 7: Experimenting with Gestus
Objective
This activity aims to immerse students in the Epic Theatre device of Gestus. The goal is to discover how Gestus—comprising gesture, stance, and vocal tone—serves as a multifaceted sign communicating social commentary and distancing the audience to prompt intellectual engagement.
Note: ‘G-e-s-t-u-s’ is pronounced as ‘gair-stus’ or ‘gee-stus’ (German), ‘guust-us’ (Dutch), ‘guest-ooos’ (Danish), or ‘jest-us’ (UK, US, Australian).
Materials
Script excerpts from Brecht plays or plays that can be adapted to Epic Theatre style.
Video examples of Gestus (YouTube example below of Gestus exercises)
List of social roles or stereotypes (see lists below).
Understanding Gestus: Analysis
Introduction and Video Screening (10 Minutes)
The teacher introduces the concept of Gestus and shows the above YouTube clip that illustrates its use.
Group Analysis (5 Minutes)
Students discuss in small groups what they observed in the video clip above, focusing on gesture, stance, and vocal tone.
Group Exercise (5 Minutes)
Under teacher instruction, students undertake the Gestus exercises outlined in the video clip.
Choosing Roles and Scripts: Preparation
Role Assignment (5 Minutes)
Students select social roles or stereotypes from the provided list below.
Script Selection (5 Minutes)
Students pair their selected roles with appropriate script excerpts.
Stereotypes in Brecht Plays: Examples
Peachum – “The Threepenny Opera”
Stereotype: The corrupt businessman who manipulates social systems for personal gain.
Macheath – “The Threepenny Opera”
Stereotype: The charming yet ruthless criminal represents outlaw behaviour’s allure and danger.
The Chaplain – “Mother Courage and Her Children”
Stereotype: The morally flexible clergyman questioning the ethics of religious institutions.
Eilif – “Mother Courage and Her Children”
Stereotype: The brave yet naive soldier embodies the tragic folly of youthful heroism.
Azdak – “The Caucasian Chalk Circle”
Stereotype: The cunning yet just judge, reflecting the complexities and contradictions of justice.
Wang – “The Good Person of Szechwan”
Stereotype: The hapless water-seller, representing the powerless and downtrodden.
Kattrin – “Mother Courage and Her Children”
Stereotype: The mute daughter embodies the silenced voices and overlooked sacrifices during times of war.
Galileo Galilei – “The Life of Galileo”
Stereotype: The revolutionary thinker challenging the status quo while also being susceptible to societal pressures.
Ui – “The Resistible Rise of Arturo Ui”
Stereotype: The ruthless dictator, depicting the dangers of unchecked political power.
Dogsborough – “The Resistible Rise of Arturo Ui”
Stereotype: The corruptible official, exemplifying how systems can be manipulated from within.
Social Roles in Brecht Plays: Examples
Mother Courage – “Mother Courage and Her Children”
Social role: The cynical profiteer embodying the perils of capitalism during wartime.
Galileo Galilei – “The Life of Galileo”
Social role: The progressive scientist at odds with religious orthodoxy.
Shen Teh/Shui Ta – “The Good Woman of Szechwan”
Social role: The dual persona of the altruist and the capitalist, respectively.
Grusha – “The Caucasian Chalk Circle”
Social role: The nurturing yet morally ambiguous mother figure.
Azdak – “The Caucasian Chalk Circle”
Social role: The corrupt yet paradoxically wise judge.
Macheath – “The Threepenny Opera”
Social role: The charming but unscrupulous criminal.
Mr. Peachum – “The Threepenny Opera”
Social role: The capitalist exploiter of beggars.
Polly Peachum – “The Threepenny Opera”
Social role: The naive daughter who defies parental expectations.
Arturo Ui – “The Resistible Rise of Arturo Ui”
Social role: The fascist leader as a gangster, embodying political corruption.
Jenny – “The Threepenny Opera”
Social role: The woman of ill repute who is morally complex.
Eilif – “Mother Courage and Her Children”
Social role: The valorised yet naive soldier.
Gods – “The Good Person of Szechwan: Prologue”
Social role: The supposedly well-meaning but clueless and ineffective divine figures.
The Cook – “Mother Courage and Her Children”
Social role: The practical survivor who prioritises self-preservation over ethical considerations.
The Chaplain – “Mother Courage and Her Children”
Social role: The representation of religion that is complicit in war and suffering.
Exploring Gestus Through Rehearsal
Initial Rehearsal (15 Minutes)
Students rehearse their scenes, initially focusing on blocking.
Incorporating Gestus (15 Minutes)
Students incorporate Gestus into their performances, concentrating on the gesture, stance, and vocal tone that best reflect their assigned social roles and/or stereotypes.
Class Performances
Individual Performances (15 Minutes)
Each group performs their prepared scene, showcasing their understanding and application of Gestus.
Immediate Peer and Teacher Feedback (5 Minutes)
Quick feedback from classmates and the teacher highlighting successful uses of Gestus.
Reflection and Discussion: Evaluation
Group Reflection (10 Minutes)
The class reconvenes to discuss their experiences and challenges encountered during the activity.
Activity 8: Multi-Functional Scenery
Objective
To acquaint students with the concept of multi-functional, simplistic sets in Epic Theatre, clarifying the principle of facilitating greater audience focus on thematic elements and Verfremdungseffekt.
Note: for an explanation of Verfremdungseffekt, refer to the link at the top of this post for beginner-level Epic Theatre activities.
Materials
Various props that could potentially have multiple uses (e.g., a wooden crate or a ladder).
Excerpts from Brecht’s plays that utilise simplistic sets.
Identifying Functionality
Introduction and Explanation (5 minutes)
The teacher provides an overview of how Brecht used multi-functional sets to achieve Verfremdungseffekt and keep the audience’s attention on the thematic content.
Group Work (10 minutes)
Students divide into small groups and are given props. Each group discusses possible functions these props could serve in different scenes.
Share Insights (5 minutes)
Groups share their insights on the functionalities of the props with the class.
Multi-Functional Simplistic Sets: Examples in Brecht Plays
The teacher reads the following ten examples from some of Brecht’s more well-known plays that demonstrate how the stagecraft employs multi-functional, simplistic sets partly to focus the audience’s attention on the narrative and thematic elements of the play.
“Mother Courage and Her Children”
The wagon that Mother Courage pulls along serves multiple purposes. It’s a mobile canteen, a shelter, and a symbol of her profiteering from the war. The wagon could be the set for multiple scenes, encapsulating different locales and themes.
“The Caucasian Chalk Circle”
The central stage feature is often the chalk circle itself, which can also be used as a meeting place, a court, or other communal areas, reflecting the changing settings within the play. Other simple props, like a chair or a table, can be brought in to signify different places.
“The Good Person of Szechwan”
The set often consists of simple, skeletal frameworks of buildings or interiors that can easily transform from Shen Te’s shop to Shui Ta’s office, for example.
“The Threepenny Opera”
Often staged with minimalistic sets that can easily transition from a street setting to Peachum’s office to a saloon while maintaining a stylistic consistency that serves the Brechtian objective.
“The Life of Galileo”
The telescope is a recurring element that serves different purposes, from a scientific instrument to a symbol of the conflict between science and authority. The settings can also be minimal, shifting from Galileo’s chamber to the church court with just a few set pieces.
“Fear and Misery of the Third Reich”
Due to the episodic nature of the play, the set is often minimal and versatile, with props and pieces that can be easily rearranged to indicate different settings, such as a home, an office, or a street.
“The Life of Galileo”
The set often includes simple, scholarly articles like books and astronomical models, which can be used in various settings—Galileo’s home, the university, and even the church court.
“Saint Joan of the Stockyards”
The set often utilises stark, industrial elements that can be rearranged to represent various locations within the meatpacking and stockyard business world.
“Man Equals Man”
The set often includes items like barrels or crates that can serve different functions, symbolising a bar, a fort, or a marketplace at different times.
“The Resistible Rise of Arturo Ui”
The set often includes elements common to multiple settings like a courtroom and a warehouse, such as chairs or tables, enabling a fluid transition between scenes.
Scene Construction
Planning (10 minutes)
In groups, students sketch out a brief outline for a scene that would require a simplistic, functional set. Each group selects appropriate props based on their discussion in the previous exercise.
Rehearsal (20 minutes)
Groups rehearse their scenes, considering how the props contribute to the Epic Theatre style.
Performance (10-15 minutes)
Groups perform their scenes in front of the class.
Reflection
Initial Impressions (10 minutes)
Each student now shares their initial impressions of how the simplistic, multi-functional sets contributed to the scenes performed.
Group Discussion (10 minutes)
The class engages in a structured discussion to dissect how the sets contributed to each scene’s thematic content and Verfremdungseffekt.
Summary and Conclusions (5 minutes)
The teacher summarises key takeaways and how these techniques can be effectively utilised in Epic Theatre.
Activity 9: Song and Music
Objective
To explore the use of songs to disrupt the narrative flow and offer a commentary on the action, enhancing the audience’s critical reception of the material. The activity aims to cultivate an understanding of the strategic insertion of musical elements in Epic theatre as a tool for Verfremdungseffekt.
Materials
A song from a Brecht play (see below.)
“The Threepenny Opera” by Bertolt Brecht.
Paper and writing utensils or laptops for composing songs.
Instruments for accompaniment, if available.
Use of Song and Music: Example in a Brecht Play
“The Ballad of Mack the Knife” in “The Life of Galileo”
[BALLAD SINGER]
Oh, the shark has pretty teeth, dear
And he shows them pearly white
Just a jackknife has Macheath, dear
And he keeps it out of sight
When the shark bites with his teeth, dear
Scarlet billows start to spread
Fancy gloves, though, wears Macheath, dear
So there’s not a trace of red
On the sidewalk Sunday morning
Lies a body oozing life
Someone’s sneaking ’round the corner
Is the someone Mack the Knife?
From a tugboat by the river
A cement bag’s dropping down
The cement’s just for the weight, dear
Bet you Mackie’s back in town
Louie Miller disappeared, dear
After drawing out his cash
And Macheath spends like a sailor
Did our boy do something rash?
Sukey Tawdry, Jenny Diver
Polly Peachum, Lucy Brown
Oh, the line forms on the right, dears
Now that Mackie’s back in town
Oh, the shark has pretty teeth, dear
And he shows them pearly white
Just a jackknife has Macheath, dear
And he keeps it out of sight
Just a jackknife has Macheath, dear
And he keeps it
[VOICE]
Look, there goes Mack the Knife
[BALLAD SINGER]
Out of sight
Song Analysis
Group Reading (10 minutes)
Students read the lyrics to “The Ballad of Mack the Knife” above.
Identification and Discussion (15 minutes)
In small groups, students read the scene from The Threepenny Opera, to which this song belongs.
Identify the role of the song within the context of the scene. Try to answer the following questions:
– How does the song comment upon the action in the scene around it?
– Why has the main composer, Kurt Weill, created a melodic tune to accompany a song detailing criminal deeds, including murder?
– What effect could this have on the audience’s interaction with the song in the theatre?
– How could this song generate wider discussion in the community?
– What would the issues for discussion be?
– In what way(s) does this song achieve Brecht’s concept of Verfremdungseffekt?
Create Your Own Song
Scene Analysis (15 minutes)
In pairs, students choose a scene or excerpt from a play with two characters (either a Brecht play or another for experimentation) where a song could be inserted. Read the scene and identify the main theme(s) evident.
Song Composition (20 minutes)
Each pair writes a short song that could fit into their chosen scene. The song should aim for commentary rather than emotional depth. Consider how the song could work to create Verfremdungseffekt.
Experimenting With Verfremdungseffekt
Rehearsal (20 minutes)
In pairs, practice performing the song and the wider scene or excerpt. This task is not about singing ability. Focus on the role and function of the song. Use the song as an Epic Theatre device to create Verfemdungseffekt.
Performance
Performances (20 minutes)
Students perform their chosen scenes, incorporating the songs they have written.
Reflection and Analysis
Discussion (10 minutes)
After all performances, the class gathers for a group discussion to analyse the impact of the songs on the narrative and the themes of the various scenes.
– Did the song disrupt the narrative flow?
– Did it offer a critical or societal commentary?
– Was Verfremdungseffekt achieved?
Activity 10: Direct Address and Speech
Objective
To experiment with direct address and formal speech styles to elucidate their role in distancing the audience from emotional engagement and promoting intellectual interaction with the material.
Materials
Scripts featuring instances of direct address and/or formal speech patterns.
Analysis
Script Reading (10-15 minutes)
Students are provided copies of script excerpts featuring instances of direct address and/or formal speech.
Script Analysis (10-15 minutes)
Students are tasked with identifying and annotating these instances.
Discussion (5 minutes)
The teacher briefly discusses why the playwright(s) might have used these elements.
Formal Speech and/or Direct Address: Scene Examples
The following examples of direct address and/or formal speech have been chosen from Shakespeare’s plays freely available on the Internet if the teacher cannot access scene material.
William Shakespeare’s “Richard III”
Act 1, Scene 1: Richard directly addresses the audience in his opening soliloquy, “Now is the winter of our discontent.”
William Shakespeare’s “Julius Caesar”
Act 3, Scene 2: Mark Antony’s funeral oration, “Friends, Romans, countrymen, lend me your ears,” serves as a direct address to the Roman populace and, by extension, the audience.
William Shakespeare’s “Hamlet”
Act 1, Scene 2: Hamlet’s soliloquy, “O, that this too too solid flesh would melt,” serves as a direct address to the audience, articulating his internal turmoil.
William Shakespeare’s “Macbeth”
Act 1, Scene 7: Macbeth’s soliloquy, “If it were done when ’tis done,” directly addresses the audience and employs formal speech to contemplate regicide.
William Shakespeare’s “As You Like It”
Act 2, Scene 7: Jaques’ “All the world’s a stage” soliloquy directly addresses the audience, offering a contemplative look at the stages of life.
William Shakespeare’s “Romeo and Juliet”
Act 1 Scene 1, Prologue: This speech addresses the audience directly at the beginning of the play: “Two households, both alike in dignity, In fair Verona, where we lay our scene”.
Experimentation
Speech Rehearsal (20 minutes)
Group activity where students are given a scripted scene or excerpt containing one or more sections of formal speech patterns and/or direct address. Students select the lines featuring direct address and formal speech to perform. First, the lines are rehearsed using a casual, colloquial tone and accompanying mannerisms. Then, the same lines are rehearsed employing the original formal language and possibly direct address. Students are encouraged to note any shifting nuances resulting from the change in speech style.
Speech Performances (10 minutes)
Selected speeches are performed in front of the class.
Reflection and Analysis
Discussion (10 minutes)
The class reconvenes for a guided discussion. Students share their observations from the experimentation phase, focusing on the effects of formal speech and direct address on the audience’s intellectual engagement and interpretative process.
– How do these devices function to distance the audience emotionally?
– Do they aid or obstruct the conveying of important themes to the audience?
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