He relocated to East Berlin in 1949 and ran the Berliner Ensemble, a theater company.
As a director, he advocated the “alienation effect” in acting — an approach intended to keep the audience emotionally uninvolved in the plights of the characters.
The common English translations are “ distancing effect,” “alienation effect,” and, in my opinion, the most accurate and faithful to Brecht’s actual intention, the “estrangement effect.”The technique’s goal is to make the familiar strange, in order to provoke a new insight that triggers a social-critical audience response.
But first things first: German leftist playwright, director, poet, and theorist Bertolt Brecht was arguably one of the most significant figures in the history of twentieth-century art.
A theatre practitioner of the 20th century, Brecht is best known for his contributions to dramaturgy and theatrical production.
There are few areas of modern theatrical culture that have not felt the impact or influence of Brecht’s ideas and practices. Thus, it is somehow self-evident that Bertolt Brecht was one of the main subjects of my German lessons back in high school.While in 1916, Brecht’s newspaper articles began appearing under the new name “Bert Brecht”, he was drafted into military service in the autumn of 1918, but fortunately for him the war ended already a month later.In 1921, Brecht took a small part in the political cabaret of the Munich comedian “Brecht was interested in English writers and Chinese philosophers. He dressed like nobody else in the circle, and looked like some kind of engineer or car mechanic, always wearing a thin leather tie – without oil stains, of course.Notable among his play are , 1949), the story of a struggle for possession of a child between its highborn mother, who deserts it, and the servant girl who looks after it.But Hollywood never opened its doors to Brecht, who sketched notes for more than fifty films..In this short text, I will focus on the first, keeping in mind the latter, which deserves an elaboration of its own.In thinking about the role of the analyst and the analysand, as well as the analytic space itself, one word keeps popping up in my mind: Verfremdungseffekt (vɜːˈfɹɛmduŋsəˌfɛkt), aka V-effekt (fɑʊəˌfɛkt) — a performance technique developed by Bertolt Brecht for actors of his “epic theatre.” Verfremdungseffekt is one of those German words difficult to grasp in translation, and theatre people often use the original as a technical term.In the last decade, Brecht was often cited for his radio theory, and that with the Web as we know it by today with its blogs, microblogs and wikis, has become the materialization of what Brecht had demanded originally in his radio theory.In fact, he had demanded a kind of radio, where everybody had the possibility to broadcast by himself.In the West as well as in the East Germany Brecht became the most popular contemporary poet, outdistanced only by such classics as Shakespeare, Schiller, and Goethe. The next year he contracted a lung inflammation and died of a coronary thrombosis on August 14, 1956, in East Berlin.At yovisto academic video search you can learn more about the theatre of Bertolt Brecht in the short introduction by the National Theatre of London.