This cookie is set by GDPR Cookie Consent plugin. The cookies is used to store the user consent for the cookies in the category "Necessary". The cookie is set by GDPR cookie consent to record the user consent for the cookies in the category "Functional". The cookie is used to store the user consent for the cookies in the category "Analytics". These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. Sarah Bryant-Bertail is associate professor in the School of Drama at the University of Washington. Bryant-Bertail shows that epic theater's relevance for politically engaged artists lies in its discovery that history, fate, and human nature are spatio-temporal constructs that may be reconstructed on stage. Bryant-Bertail provides analyses of theatrical productions in the epic tradition from before, during, and after Brecht's lifetime: Hasek's The Good Soldier Schwejk directed by Piscator Mother Courage written and directed by Brecht Lenz's The Tutor directed by Brecht Ibsen's Peer Gynt in productions directed by Peter Stein and Rustom Bharucha Büchner's Leon and Lena (& Lenz) directed by JoAnne Akalaitis and Les Atrides (The House of Atreus) from Aeschylus and Euripides, directed by Ariane Mnouchkine. The epic stage juxtaposed the old media of actors and scenery with new media, including film, photography, and electronic sound. The development of epic theater before, during, and after Brecht's time, and analysis of epic productions, showing the form's continued relevance.īertolt Brecht and the director Erwin Piscator developed epic theater in the 1920s because they found Western realism limited to the single perspective of an individual, and thus unable to confront the new realities: technologicalwarfare, revolution, the metropolis, and the mass media, among others.
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