This post contains forty Epic Theatre exercises divided into five main activities, each focusing on a separate aspect of Bertolt Brecht’s theories. All of these activities are beginner-level, serving as a suitable introduction to the form. Intermediate-level and advanced-level exercises will be covered soon in future posts. The following five activities include suggested exercise time lengths, totalling more than seven hours of content.
Note: several of these activities require teacher preparation and resources, such as sample monologues or short scenes. Access to some of Brecht’s plays is advantageous.
Epic Activities | Epic Theatre Exercises
Activity 1: Verfremdungseffekt
Materials
A selection of simple, short, emotional scene scripts. These scenes should be easily understandable and evoke emotional involvement if performed traditionally.
Cards containing various elements that can introduce emotional ‘distance’ into the performance. Examples are provided below.
Reading the Scene: Preliminary Performance
Objective: To ensure students grasp the emotional and thematic baseline against which the Verfremdungseffekt can be starkly contrasted.
Analysis (10 minutes)
Pairs are formed, and each is assigned an emotional scene script. They are guided to conduct an initial textual analysis to understand emotional layers, character motivations, and core themes.
Rehearsal (10 minutes)
Pairs allocate roles based on their analysis and then rehearse the scene, preparing to perform it in front of the class.
Performance (15 minutes)
Pairs perform their rehearsed emotional scenes before the class.
Adding Distance: Modified Performance
Objective: To demonstrate the effects of Verfremdungseffekt to the students, both as performers and observers.
Selection and Discussion (5 minutes)
Pairs draw a card from the set that specifies an element that adds emotional distance. They spend a few moments discussing how to incorporate this element.
Rehearsal (10-15 minutes)
Pairs rehearse their scene again, this time incorporating the element of distancing they have drawn.
Performance (15 minutes)
Pairs perform their modified scenes before the class.
Verfrendungseffekt Cards
Give each pair an action statement or card from the following list. There are 17 statements, enough for a class of 34 students.
Deliver lines in a monotone.
Engage in direct audience address.
Use exaggerated facial expressions.
Pause for an extended moment of silence.
Break the fourth wall to comment on the action.
Swap roles with another actor mid-scene.
Use placards to announce emotional states.
Recite lines while facing away from the audience.
Alter the tempo or rhythm of speech unpredictably.
Use exaggerated gestures or movements.
Interrupt the scene with a piece of political commentary.
Perform with an overtly affected voice or accent.
Play multiple characters in quick succession.
Use stage directions as dialogue.
Perform while seated, disregarding natural blocking.
Insert a brief monologue that directly questions the action of the scene.
Perform in slow motion during heightened emotional moments.
As each pair employs one of these action statements in their script, they will effectively ‘make the familiar, strange’, while attempting to break the emotional attachment of the audience and potentially illicit an intellectual response instead.
Group Reflection: Discerning Verfremdungseffekt
Structured Discussion (15 minutes)
The class reconvenes for a detailed discussion, moderated by the teacher, to discuss their experiences and observations.
Summary and Concluding Remarks (5 minutes)
The instructor summarises the key points of the discussion and invites any final comments or questions.
Activity 2: Brechtian Characterisation
Objective
This activity introduces students to the unique form of characterisation in Bertolt Brecht’s Epic Theatre. Brechtian characters often serve as social or political archetypes rather than psychologically complex individuals, as in realistic or naturalistic drama. The objective is to provide students with a comprehensive understanding of how Brecht utilised characters as tools for critical and social commentary.
Materials
Excerpts from Brecht’s plays that showcase different types of characters (e.g., “Mother Courage and Her Children”, “The Good Person of Szechwan”).
Role cards that outline different archetypal characters commonly found in Brecht’s works.
Understanding Brechtian Characters: Textual Analysis
Reading and Analysis (10 minutes)
Students will read selected excerpts in groups of four or five and then undertake a textual analysis to understand the archetypal nature of the characters within Brecht’s framework.
Group Discussion (10 minutes)
Groups share their analyses with the class, focussing on how the characters serve to highlight social or political issues.
Role Play: Archetypal Brechtian Characters
Role Assignment (5 minutes)
Each student draws a role card (below) outlining a Brechtian character archetype.
Rehearsal (15-20 minutes)
In groups of 4-5, students rehearse short, improvised scenes based on their assigned archetypal roles, carefully considering the social or political implications each character might carry.
Performance (15 minutes)
Students perform their scenes for the class.
Brecht Character Cards
Randomly give each student a Brechtian character name or card from the list below. Each of these character names defines a social role. The Brecht play each character derives from is also listed as a reference only.
Mother Courage
Mother Courage and Her Children
The Actor
The Resistible Rise of Arturo Ui
The Inquisitor
The Life of Galileo
The Emperor
The Rise and Fall of the City of Mahagonny
The Judge
The Caucasian Chalk Circle
The Little Monk
The Life of Galileo
The Policeman
The Good Person of Szechwan
The Chaplain
Mother Courage and Her Children
The Water Seller
The Good Person of Szechwan
The Prosecutor
The Resistible Rise of Arturo Ui
The Cook
Mother Courage and Her Children
The Drummer
Drums in the Night
The Man
Fear and Misery of the Third Reich
The Carpenter
The Good Person of Szechwan
The Salvation Army Office
Saint Joan of the Stockyards
The Worker
Fear and Misery of the Third Reich
The Soldier
Saint Joan of the Stockyards
The Inquisitor
The Life of Galileo
The Cook
Mother Courage and Her Children
The Meat King
Saint Joan of the Stockyards
The Ballad Singer
The Threepenny Opera
The Inquisitor
The Life of Galileo
The Sergeant
Mother Courage and Her Children
The God
The Good Person of Szechwan
The Beggar
The Rise and Fall of the City of Mahagonny
The Journalist
Baal
The Peasant
The Exception and the Rule
The Clerk
The Life of Galileo
The Farmer
Mother Courage and Her Children
The Wise Man
The Caucasian Chalk Circle
The Doctor
Mother Courage and Her Children
The Inquisitor
The Life of Galileo
The Prisoner
The Threepenny Opera
The Foreman
The Exception and the Rule
The Professor
The Life of Galileo
The Informer
The Resistible Rise of Arturo Ui
Group Reflection: Understanding Brechtian Archetypes
Structured Discussion (10 minutes)
Students reconvene to discuss the challenges and insights they gained from role-playing Brechtian characters.
Summary and Concluding Remarks (5 minutes)
The teacher summarises the key points of the discussion, highlighting the functional aspects of Brechtian characters in Epic Theatre.
Activity 3: Breaking the Fourth Wall
Objective
To explore the technique of breaking the fourth wall as a theatrical device in the Epic Theatre tradition, aiming to disrupt conventional audience engagement and promote a critical reception of the drama.
Materials
A selection of monologues that can potentially directly address the audience. Only a small selection of different monologues is necessary, with duplicate examples around the classroom.
Video recording equipment (optional for reviewing performances)
Pre-Analysis
Teacher-Led Explanation of the “Fourth Wall” (5 minutes)
The teacher introduces the concept of the “fourth wall” in traditional theatre and contrasts it with Brecht’s Epic Theatre principles.
Perform a Monologue
Selection and Rehearsal (10 minutes)
Students are given monologues and rehearse them individually. This exercise aims to rehearse and deliver the monologues in the traditional theatrical manner, maintaining the “fourth wall” and not acknowledging the audience. Do not memorise lines.
Performance (10-15 minutes)
Several students perform monologues before the class without breaking the fourth wall.
Immediate Reflection (5 minutes)
Following the performances, the class reflects briefly on this traditional approach’s emotional impact and interpretive outcomes.
Break the Wall
Rehearsal with Modifications (10 minutes)
Students rehearse the same monologue again, this time incorporating elements that break the fourth wall, such as direct eye contact with the audience, rhetorical questions, or commentary.
Performances (10-15 minutes): Several students perform their modified version of a monologue, consciously trying to break the fourth wall and engage the audience directly.
Video Review (Optional, 10 minutes): If the performances were recorded, play some back to facilitate a more nuanced discussion.
Immediate Reflection (5 minutes): The class discusses how breaking the fourth wall influenced their perception and interpretation of the monologue.
Group Discussion
Comparative Analysis (10 minutes)
As a class, compare and contrast the effects of the two performances. Discuss aspects such as emotional engagement, intellectual engagement, and overall interpretive outcomes.
Teacher Summary (5 minutes)
The teacher summarises the key takeaways, explaining how breaking the fourth wall is used as a device in Epic Theatre to create a more critically engaged audience.
Activity 4: Placards and Projections
Objective
This activity aims to familiarise students with the Epic Theatre technique of using placards and projections to create Verfremdungseffekt. The activity aims to explain how these devices can be used to comment on the action, encourage audience reflection, and underline the thematic elements of a performance.
Materials
Pre-made placards with thematic or narrative statements (e.g., “Act II: The Trial Begins”).
A projector and screen for displaying text or images.
Script excerpts that could benefit from placards or projections (e.g., monologues, duologues, dialogues).
Markers and blank placards for student-created content.
Introduction to Placards and Projections: Analysis
Lecture and Examples (10 minutes)
The teacher briefly lectures about the history and purpose of using placards and projections in Epic Theatre.
Small Group Discussion (10 minutes)
In small groups, students discuss the potential impacts and implications of using placards and projections in performance.
Brecht Narrative Statements as Placards: Examples
Below are examples of narrative statements summarising scenes in some of Brecht’s plays that could be used as placards in a performance. These are examples only and should give students an idea of how to devise their own narrative statements to use as placards in this activity.
“Mother Courage and Her Children”
“The Thirty Years War in Europe”
“Scene One: Mother Courage Haggles While Her Children Die”
“Scene Three: Chaplain Joins Courage’s Wagon”
“The Good Person of Szechwan”
“Prologue: The Gods Arrive in Szechwan”
“Scene Four: Shen Te Buys a Tobacco Shop”
“Act Two: The Crisis”
“The Threepenny Opera”
“Peachum’s Morning Hymn of Hate”
“Polly’s Song”
“Ballad of the Easy Life”
“The Caucasian Chalk Circle”
“Prologue: The Collective Farm Debate”
“The Story of the Judge: Azdak Takes Power”
“The Chalk Circle: The Final Verdict”
“The Life of Galileo”
“Scene Two: Galileo and the Telescope”
“Scene Four: The Papal Inquisition”
“Scene Thirteen: Recantation”
“The Resistible Rise of Arturo Ui”
“Scene One: The Rise of Arturo Ui Begins”
“Scene Eight: The Cauliflower Trust”
“Scene Seventeen: Ui Takes Power”
Creating Placards: Rehearsal
Individual Brainstorming (5 minutes)
Students brainstorm thematic or narrative statements that could be placed on placards during a performance.
Placard Construction and Rehearsal (25 minutes)
Using markers and blank placards, students write down their chosen statements and rehearse, incorporating them into the provided script excerpts.
Incorporating Projections: Rehearsal
Selection of Text or Images (5 minutes)
Students decide on the text or images to project during their scene and how it will be displayed.
Rehearsal with Projections (20 minutes)
Students rehearse the script excerpts, synchronising the timing of their placards and projections.
Class Performances
Performances (20 minutes)
Each group presents their scene with integrated placards and projections.
Immediate Feedback (5 minutes)
Brief feedback is given by classmates and the teacher, focusing on effectiveness and thematic consistency.
Group Reflection: Analysis
Discussion and Reflection (10 minutes)
The class convenes for a general discussion on the effectiveness, challenges, and revelations concerning using placards and projections.
Activity 5: Narration and Commentary
Objective
To familiarise students with the narrative techniques employed in Epic Theatre. The focus is on using narration and commentary to explain social or political messages, aligning with Brecht’s commitment to intellectual engagement over emotional involvement.
Materials
Excerpts from Brechtian plays that prominently feature narration and commentary, such as “Mother Courage and Her Children” or “The Good Person of Szechwan.”
Projector or whiteboard for displaying textual excerpts or notes.
Copies of the same textual excerpts for students.
Introduction to Narration & Commentary: Briefing
Overview (10 minutes)
The teacher provides an overview of Brecht’s use of narration and commentary in Epic Theatre, drawing attention to its social and political impact.
Analyse Narration: Textual Analysis
Identifying Narration and Commentary (10 minutes)
Students, individually or in pairs, read through the Brecht play excerpts provided by the teacher. They identify elements of narration and commentary within the text.
Group Discussion (10 minutes)
After the analysis, students discuss their findings with the class, elaborating on the narrator’s role in shaping the audience’s intellectual engagement with the play.
Narration and Commentary Examples from Brecht’s Plays
Read the following examples from three of Brecht’s plays where a character narrates their spoken lines, sometimes commenting upon the action, at other times referring to themselves in the third person, often with social and/or political themes.
WANG (The Good Person of Szechwan):
I sell water here in the city of Setzuan. It’s a difficult business. When water is scarce, I have to go a long way to find any. And when it is plentiful, I am without income. But in our province, there is nothing unusual about poverty. It is generally said that only the gods can still help us.
Wang, the water seller, serves as an intermittent narrator and commentator. He directly interacts with the gods and serves as the link between them and the other characters. He often comments on the unfolding events, the state of the city, and the moral dilemma Shen Te/Shui Ta faces. His commentary provides a window into the society in which the events unfold and the challenges of maintaining one’s goodness amidst overwhelming systemic pressures.
GALILEO (The Life of Galileo):
For two thousand years people have believed that the sun and all the stars rotate around mankind. Pope, cardinals, princes, professors, captains, merchants, fishwives and schoolkids thought they were sitting motionless inside this crystal sphere.
Galileo Galilei is here discussing the state of science of astronomy. He challenges current universe models and introduces the Copernican system to his young pupil. This is an example of a character commenting on both the action and the larger scientific and social views within which the action takes place. His words set the stage for the impending conflict between science and the Catholic Church, introducing the audience to the critical issues that will be explored further as the play progresses.
MOTHER COURAGE (Mother Courage and her Children):
You captains, tell the drums to slacken
And give your infanteers a break;
It’s Mother Courage with her wagon
Full of the finest boots they make.
With crawling lice and looted cattle
With lumbering guns and straggling kit –
How can you flog them into battle
Unless you get them boots that fit?
Mother Courage is here haggling and advertising her wares from her canteen wagon. Her commentary about the nature of war and its associated commerce provides a narrative framework for the rest of the play. This moment is significant not only for its introduction of her character but also for its critique of the capitalist dimensions of war, encouraging the audience to reconsider their preconceptions about conflict and profit.
The Narrator: Role-Play Exercise
Enacting Social and Political Content (15 minutes)
Students are divided into small groups and given a socially or politically relevant scene or scene extract to enact. One student in each group takes on the role of the narrator.
Switch and Repeat (10 minutes)
Students swap roles and perform the scene again, allowing for different interpretations and commentaries.
Socially or Politically Relevant Scene Examples
If you can access Brecht’s plays, the following scenes from some of his more popular works are considered socially or politically relevant for the above activity.
Mother Courage and Her Children – Scene 1
Mother Courage attempts to prevent her children from enlisting, illuminating the exploitation of the poor in war.
Mother Courage and Her Children – Scene 3
The Chaplain joins the wagon, and they discuss the business of war, laying bare the economic underpinnings of conflict.
The Caucasian Chalk Circle – Scene 5
Azdak administers justice in unconventional ways, challenging traditional ideas of law and order
The Caucasian Chalk Circle – Scene 6
Grusha and the Governor’s wife are tested, bringing forth rightful parenthood and social justice questions.
The Life of Galileo – Scene 4
Galileo’s clash with the Church over his scientific discoveries highlights the tension between religion and science.
The Life of Galileo – Scene 13
Galileo recants his scientific discoveries to save himself, raising ethical questions about individual responsibility versus societal progress.
The Resistible Rise of Arturo Ui – Scene 3
Arturo Ui exploits the fear of the people to gain political power, representing the rise of totalitarian regimes.
The Resistible Rise of Arturo Ui – Scene 11
Ui and his gang seize control, symbolising the destructive nature of unchecked power.
Alternate Activity: Improvising
Brainstorming a Social or Political Issue (15 minutes)
If unable to access Brecht’s plays, students brainstorm a social or political issue in small groups. Examples could include a local, state, national, or global issue.
Improvising the Social or Political Issue (15 minutes)
Students now improvise a short drama with the chosen social or political issue at its core. They must include one or more characters narrating or commenting upon the issue from within the play.
Class Discussion: Reflection and Analysis
Task (10 minutes)
Students reassemble as a class to discuss their observations and insights.
Teacher Summary (10 minutes)
The teacher summarises key takeaways and relates the activity to broader Epic Theatre techniques, linking narration and commentary to the Verfremdungseffekt, placards, and other Brechtian devices.
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