Teaching Bertolt Brecht can be one of the most rewarding yet challenging parts of the senior drama curriculum. How can we help students move beyond a surface-level understanding of “breaking the fourth wall” to develop a deep, practical grasp of complex theories such as Gestus or Historification? While textbooks and workshops are helpful, engaging students in a way that feels both educational and exciting is the holy grail.
Enter the Epic Theatre Escape Room—a new digital learning tool designed specifically for senior drama and theatre students (ages 16+) to demystify Brecht’s conventions through interactive, puzzle-based learning.
What is the Epic Theatre Escape Room?
Imagine a digital experience where students aren’t passively receiving information, but actively applying it. The Epic Theatre Escape Room is a self-contained web application structured around ten virtual “rooms.” Each room is dedicated to a core Brechtian convention, from episodic structure to symbolic scenery.
To progress, students must first read a concise explanation of the convention. Then, they must solve a unique, interactive puzzle that requires them to apply that knowledge practically. By solving all ten puzzles, they “escape” the room, armed with a robust and memorable understanding of Epic Theatre.
A Look Inside: From Abstract Theory to Applied Practice
The true power of this tool lies in its ability to make abstract concepts tangible. For example:
- Understanding Gestus: Instead of just defining “social gesture,” students are presented with a scenario: a factory worker confronting their boss after a successful union strike. They use a slider to physically manipulate the characters’ postures, searching for the precise “Gestus” that visually communicates the shift in the power dynamic. They see, in real-time, how a physical attitude can tell a whole social story.
- Mastering Episodic Structure: To learn about narrative disruption, students are given the seven jumbled scenes of a soldier’s story. They must drag and drop the events into chronological order, but the lesson is in the analysis. The puzzle reinforces that Brecht wanted the audience to see each scene as a distinct argument, not just a step in a suspenseful plot.
- Applying Symbolic Scenery: In the final room, students become set designers. Presented with different scenarios—a courtroom trial, a factory firing—they must select only the essential, symbolic props from a collection of items. This forces them to distinguish between decorative realism and functional, message-driven design.
Four Ways to Integrate the Escape Room into Your Teaching Program
This tool is more than just a one-off activity; it’s a versatile resource that can be adapted to your specific pedagogical needs.
- The Flipped Classroom “Hook”: Assign the Escape Room as homework before you begin your practical exploration of Brecht. Students will arrive in your classroom with a foundational, interactive understanding of the key terms. This allows you to dive straight into deeper discussions and performance-based activities, saving valuable class time.
- The In-Class Collaborative Challenge: Divide your class into pairs or small groups and have them tackle the escape room together on laptops or tablets. This fosters rich discussion, peer-to-peer teaching, and problem-solving as students debate the logic behind the puzzles. Turn it into a friendly competition to see which team can “escape” first.
- The “Jigsaw” Deep Dive: Assign one or two specific “rooms” to different groups. Each group becomes the class expert on those conventions (e.g., the “Direct Address” experts or the “Historification” team). They then present their puzzle, its logic, and their understanding of the convention to the rest of the class.
- The Ultimate Revision Tool: In the lead-up to exams or final assessments, the Escape Room serves as a dynamic and engaging revision tool. It’s a far more effective way to consolidate knowledge than simply rereading notes, as it tests a student’s ability to apply theory, which is often the focus of assessment criteria.
Unlock Deeper Learning
The Epic Theatre Escape Room is designed to bridge the gap between knowing and understanding. It encourages critical thinking, provides immediate feedback, and frames learning in a context that is both fun and academically rigorous. It is a powerful resource for any drama department looking to invigorate its approach to teaching theatrical theory.
Ready to revolutionise your Brecht unit? Explore the Epic Theatre Escape Room and give your students an unforgettable learning experience. ⬇️ ⬇️ ⬇️
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Hi, thank for sharing that. But i can’t access the website, I don’t know why, but always receive the message “This site can’t be reached”. Do you have idea what I could do to access it?
Beatriz, thanks for your comment. Everything seems to be fine at this end in terms of the site being reachable. I’ll email you with some troubleshooting help. – Justin
In the Epic theatre escape room, every posiiton for the actor gave the same response of “Not quite”. Can you check it please? It’s good fun and I want to use it in my class.
Hi Louise, thanks for giving the Epic Theatre Escape Room a test run before letting your students have a go at it. Sounds like you’re referring to Room 9: Direct Audience Address. Here’s the solution: Stage 1 of 3: Proscenium Stage – choose the one actor downstage centre closest to the audience. Stage 2 of 3: Traverse Stage – choose the six actors closest to the audience on both sides (three across the top of the diagram and three across the bottom of the diagram). Stage 3 of 3: Theatre-in-the-round – choose the six actors closest to the audience, all the way around the circle, leaving three actors not highlighted on a diagonal in the centre of the circle. If your students ask for the reasoning behind this, it is consistently the actor positions closest to the audience in all three spaces that are the most dominant positions to deliver a direct audience address. Technically, only the first space was relevant to Brecht, as the Berliner Ensemble rehearsed and performed on a proscenium stage where he tested most of his theories in the latter part of his life (1947-1956). – Cheers, Justin
Ah – brilliant! Got caught out by thinking it had to be only one actor!