Translated Titles

The Relationship between "Epic" and "Theatre" in Brecht: A Historical Perspective




李其昌(Chyi-Chang Li)

Key Words

布雷希特 ; 史詩劇場 ; 疏離 ; 尼采 ; 亞里斯多德劇場 ; 觀眾參與 ; Bertolt Brecht ; Epic Theatre ; V-effect ; Friedrich Nietzsche ; Aristotelian Theatre ; Audience Participation



Volume or Term/Year and Month of Publication

82期(2008 / 04 / 01)

Page #

207 - 226

Content Language


Chinese Abstract


English Abstract

This research focuses on Brecht's Epic Theatre and its role in modern drama, as well as its sources in ancient Greece, India and China. This historical examination is necessary to understand what should be regarded as the ”core theory”-the V-effect (Verfremdungseffekt or Alienation)-of Brecht's Epic Theatre. Further, the relationship between ”Epic” and ”Theatre will underlie the main questions of this essay: How did both conflict in drama history? How did Brecht harmonize both so that ”Epic Theatre” has become an influential theory in the contemporary performing arts? This paper uses Nietzschean theory to examine the relation between ”Apollo” (Epic) and ”Dionysus” (Theatre). It shows how, in Brechtian theatre, both ”epic” and ”theatre” interact and intermingle on stage in a way that, it is argued, allows spectators access to a fuller, a more complete and useful, experience than Aristotelian theatre. Contemporary theatre, I shall argue, should aim to provide audiences with ”useful and dialectical knowledge,” which is based on both Aristotelian theatre (illusion) and Brecht's V-effect^18 and which thereby encourages audiences actually to participate in theatre. This will not only advance the actor's and the spectator's knowledge, but will also achieve the ”higher delight” and might even, conceivably, help improve society.

Topic Category 人文學 > 藝術
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Times Cited
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