This post of Epic Theatre activities and exercises for students is the third in a series, focusing this time on advanced-level techniques such as understanding Bertolt Brecht‘s meaning of historicisation, the concept of dialectics, non-linear narratives in his plays, and engaging the spectator politically.
These activities suit a senior high school or university Drama or Theatre class, as the concepts are quite sophisticated. There are up to 10 hours of activities in this set. Enjoy!
Teachers and students should undertake Epic Theatre beginner-level activities 1-5 and intermediate-level activities 6-10 before moving to the advanced-level activities 11-15 below.
Activity 11: Historicisation
Objective
To understand how Epic Theatre uses historicisation, making students think deeply about how past events in plays relate to current real-world issues.
Materials
A collection of historical photographs from the Civil Rights Movement in the U.S.
Excerpts from Brecht’s plays that employ historicisation.
Definition
Historicisation is a convention employed by Brecht in some of his works that involves setting certain actions or narratives in a past historical setting to offer critical commentary on contemporary issues. By removing the story from its immediate context, Brecht believed audiences would be less emotionally attached and more critically engaged.
Examples from Brecht’s Plays
This is a cheat sheet for the teacher to assist in acquiring excerpts from Brecht’s plays for the following activity.
In each of these plays, Brecht’s use of historicisation effectively distances the audience from the immediacy of the narrative, encouraging them to view the story intellectually rather than emotionally. Though far removed from the contemporary context of when the plays were written or performed, the historical settings resonate powerfully with Brecht’s critiques of society, politics, and morality.
“The Life of Galileo”
Historicisation: The play presents the life of the Renaissance scientist Galileo Galilei, focusing on his conflicts with the Catholic Church over his support for the heliocentric model.
Effect: By depicting the clash between science and dogma in the Renaissance, Brecht critiques the contemporary suppression of dissenting voices, whether they are opposing political, scientific, or ideological authorities.
“Mother Courage and Her Children”
Historicisation: The action is set during the Thirty Years’ War (1618–1648), but the play was written on the brink of World War II.
Effect: The historical setting serves as an allegory for the conflicts of the 20th century, underscoring the human cost of war and the cyclical nature of history.
“The Resistible Rise of Arturo Ui”
Historicisation: The play is a satirical allegory of the rise of Adolf Hitler, represented by Arturo Ui, a gangster in Chicago during the 1930s.
Effect: By recasting Hitler’s rise in terms of 1930s Chicago gangland events, Brecht highlights the systemic factors and individual choices that allowed such a rise to power, implying that it could happen anywhere if conditions allow.
“The Caucasian Chalk Circle”
Historicisation: The play is framed by a prologue set in post-World War II Soviet Georgia, but the main story, derived from an ancient Chinese tale, is set amidst a civil war and revolution in a Caucasian city.
Effect: Brecht uses the historical setting to comment on justice, morality, and societal order issues. The ancient tale becomes a lens through which to view and critique contemporary societal upheavals and transformations.
“Saint Joan of the Stockyards”
Historicisation: While invoking the story of Joan of Arc, the narrative transposes to 1930s Chicago amidst the stockyard businesses and their exploitation.
Effect: Brecht critiques the capitalism of his time, drawing parallels between religious fervour and faith in the capitalist system.
Brecht’s Plays As Stimulus
Brecht Excerpt Reading (20 minutes)
Students read the selected Brecht play excerpts individually, noting how past events are depicted and how they might relate to the play’s contemporary setting.
Historical Images As Stimulus
Discussing Civil Rights Movement Photographs (10-15 minutes)
Students individually examine a selection of photographs from the Civil Rights Movement, reflecting on the emotions, stories, and significance they infer from each image. They then share their observations and reactions, delving into the historical context and its implications for present-day society.
Historicisation Scene Creation
Rehearsal (40-50 minutes)
In small groups, each group is given a specific photograph from the Civil Rights Movement. They are tasked with creating a scene that uses the principles of Epic Theatre, particularly historicisation, to draw connections between the events in the photograph and modern societal issues. Techniques like Verfremdungseffekt and direct address should be incorporated.
Performance
Performance and (30-40 minutes)
Groups present their scenes, with each performance limited to 10 minutes. Following each presentation, a 5-10 minute critical discussion ensues. The focus of the discussion should be on:
– the scene’s effectiveness in showing the connection between the historical events in the photographs and present-day situations
– the Epic Theatre techniques used
– the emotional and intellectual responses of the audience.
Analysis
Performance and Analysis (15 minutes)
Groups present their scenes, with each performance limited to 10 minutes. Following each presentation, a 5-10 minute critical discussion ensues. The focus of the discussion should be on the scene’s effectiveness in showing the connection between the historical events in the photographs and present-day situations, the Epic Theatre techniques used, and the emotional and intellectual responses of the audience.
Activity 12: Dialectics and Contradiction
Objective
To delve into the essence of dialectical thinking and the significance of presenting contradictions as integral aspects of Brecht’s Epic Theatre. By the end of this activity, students should have a firmer grasp of the importance of dialectics in Brecht’s works and understand how presenting contradictions can challenge audiences to engage more critically with the material.
Materials
A selection of articles or opinion pieces presenting contrasting viewpoints on a prevailing social issue.
Dialect and Dialectical: Definitions
Bertolt Brecht’s understanding and usage of “dialect” and “dialectical” are rooted in Marxist philosophy and the works of philosophers like Georg Wilhelm Friedrich Hegel and Karl Marx. In this context, Brecht’s application of these terms in his theatrical theories and practices is quite specific.
Dialect
At its core, “dialect” refers to the process or art of reasoning through discussion and dialogue. For Brecht, this meant creating a theatrical experience that was not just a passive absorption of a narrative but an active engagement with conflicting ideas.
He believed that theatre should not simply present a fixed narrative or moral but should instead stimulate debate and thought.
Dialectical
The term “dialectical”, particularly when applied in a Marxist context, refers to the study of contradictions in the material world. These contradictions are seen as the driving force behind changes in society.
Brecht believed theatre should present these contradictions, not to resolve them, but to expose them. This is a key component of his Epic Theatre. The idea was to show contrasting viewpoints or contradictions to jolt the audience out of their passivity. By showing the contradictions inherent in societal issues on stage, he hoped to make the audience reflect on these issues in their own lives.
For Brecht, incorporating dialectical thinking into theatre was a way to challenge the audience’s assumptions and make them critically engage with the play’s themes. He didn’t want audiences to get lost in a narrative but to critically analyse it, question it, and ultimately be moved to action outside the theatre.
His plays frequently pose difficult questions without providing straightforward answers, thus pushing audiences towards this dialectical, questioning mode of engagement.
Identifying Contradictions
Reading (20 minutes):
Students individually read through the provided articles, making notes on the contrasting arguments presented.
Sharing (10 minutes)
They then briefly share their findings in pairs or small groups, summarising the key contradictory arguments they’ve identified.
Constructing a Dialectical Scene
Brainstorming (20 minutes)
In groups, students brainstorm how to embed the contradictory viewpoints from the articles into a short scene, ensuring both sides are presented.
Writing (20-30 minutes)
They then script their scenes, focusing on creating engaging dialogue that highlights the dialectic.
Rehearsal (10 minutes)
Groups practice their scenes, refining where necessary to enhance clarity and impact.
Performance
Performance (30-40 minutes)
Each group performs their short scene, with each enactment limited to 5-7 minutes.
Analysis
Discussion (15 minutes)
After all scenes have been performed, initiate a class-wide discussion. Focus on:
– How effectively did each scene highlight its contradictions?
– Did the scene promote dialectical thinking among the audience?
– How does the use of contradiction align with the principles of Epic Theatre and foster critical audience engagement?
Activity 13: Non-Linear Narrative
Objective
This activity aims to expose students to the non-linear narrative techniques employed by Bertolt Brecht in his Epic Theatre. Students will explore how the disjointed narrative structure can contribute to the overarching aims of social and political critique.
Materials
Script excerpts from Brecht’s plays that employ non-linear narrative (e.g., “The Caucasian Chalk Circle”, “Fear and Misery of the Third Reich”).
Index cards containing isolated lines, directions, or dialogue from the selected script excerpts.
Examples of Non-Linear Narratives in Brecht’s Plays
“Mother Courage and Her Children”
The play follows the titular character, Mother Courage, as she and her children traverse the Thirty Years’ War. The narrative doesn’t provide a straightforward chronology but rather episodic glimpses into their lives throughout the war.
“The Good Person of Szechwan”
Brecht offers a parable that jumps between different episodes in the life of Shen Te, a prostitute who strives to be good in a corrupt world.
“The Life of Galileo”
The narrative is episodic, presenting key moments in Galileo’s life out of strict chronological order to emphasise specific thematic points about the relationship between science, truth, and authority.
“The Caucasian Chalk Circle”
The play begins with a prologue set in post-World War II Soviet Georgia before transitioning to a fable set years earlier during a civil uprising. The two distinct periods and settings contribute to the play’s non-linear format.
“The Resistible Rise of Arturo Ui”
The play provides a satirical account of the rise of Arturo Ui, a stand-in for Adolf Hitler. Still, it often digresses from a linear progression to provide background, commentary and parallels to real historical events.
Textual Analysis of Non-Linear Narrative in Brecht’s Plays
Reading and Analysis (10 minutes)
Students read the selected script excerpts individually and identify elements of non-linear storytelling, such as flashbacks, narrations, and fragmented scenes.
Group Discussion (10 minutes)
Students discuss their findings in small groups, specifically examining how the non-linear elements contribute to the principle of Verfremdungseffekt.
Deconstruction and Reconstruction: Rehearsal
Scene Deconstruction (10 minutes)
Students are given index cards containing isolated lines, directions, or dialogues from the script excerpts. They must arrange these in a non-linear fashion to create a new scene.
Rehearsal (20 minutes)
Students rehearse the newly constructed scenes, paying special attention to pacing, transitions, and pauses to emphasize the fragmented nature of the narrative.
Showcasing Epic Theatre Non-Linear Narratives: Performance
Performance (15 minutes)
Each group performs their newly constructed scenes before the class.
Immediate Feedback (5 minutes)
Class members offer immediate, brief feedback on how effectively the non-linear structure contributed to the Verfremdungseffekt.
Group Reflection: Evaluating the Impact of Non-Linear Narratives
Structured Discussion (10 minutes)
The class gathers to discuss the practical challenges and revelations they experienced while working with a non-linear narrative structure.
Summary and Concluding Remarks (5 minutes)
The teacher summarises the key learning outcomes, emphasising the importance of non-linear narrative in achieving the political and social objectives of Epic Theatre.
Activity 14: Political Engagement
Objective
To interrogate the capacity of Epic Theatre to engage audiences politically and to encourage the wider community to think about real-world problems.
Materials
A collection of news articles focusing on pressing political issues.
Discuss Current Issues
Discussion (10-15 minutes)
Students read the selected news articles individually, making notes on key themes. They then share their initial reactions and thoughts on the articles’ content, considering broader socio-political contexts.
Political Scene Creation
Rehearsal (40-50 minutes)
Students are divided into small groups and assigned a specific article or political issue. Each group is tasked with creating a short scene that uses the principles of Epic Theatre to encourage political engagement. Students should integrate techniques such as Verfremdungseffekt, direct address, and potentially the inclusion of songs or placards.
Performance
Scene Presentations and (30-40 minutes)
Groups present their scenes to the class, with each performance limited to 10 minutes.
Analysis
Discussion (15 minutes)
After each display, a critical discussion ensues for 5-10 minutes. Discussions should focus on:
– the scene’s effectiveness in promoting political engagement
– the Epic Theatre techniques employed
– the emotional and intellectual responses elicited from the audience.
Activity 15: Theoretical Integration
Objective
To synthesise and apply the myriad theories and techniques of Epic Theatre, learned through Activities 1-5 (Beginner) and 6-10 (Intermediate), culminating in a singular performance piece that embodies Epic Theatre principles.
Materials
A comprehensive list or reference chart of Epic Theatre techniques explored in prior activities.
Review Techniques
Individual Recap (10 minutes)
Students individually review the provided list of techniques, making notes on each and recalling specific exercises or moments from past activities.
Group Sharing (20-30 minutes)
In small groups, students discuss and share their understandings, ensuring a comprehensive grasp of each technique’s significance and application.
Integrative Scene Building
Planning (25-30 minutes)
Groups are tasked with selecting a theme or narrative. They then plan how to incorporate a set number of Epic Theatre techniques from the list to ensure a multi-faceted approach.
Scripting (20-30 minutes)
Each group writes a concise script or outline for their scene, ensuring clarity in integrating techniques.
Rehearsal (15-20 minutes)
Groups rehearse their scenes, refining the application of techniques and ensuring a cohesive performance.
Performance
Performance (30-40 minutes)
Each group performs their integrative scene, with each performance limited to 5-7 minutes.
Critical Discussion
Discussion (30 minutes)
After all scenes have been showcased, a class-wide critical discussion is facilitated. The focus should be on:
– How well each scene integrated the various Epic Theatre techniques.
– The effectiveness and clarity of each technique’s presentation.
– The overall impact of the scenes in promoting critical audience engagement aligned with Brecht’s aims.
This culminating activity seeks to consolidate students’ understanding and mastery of Epic Theatre techniques, challenging them to apply these tools thoughtfully and effectively, fostering their creative and analytical capabilities.
