| Autor: |
Saleem, Muhammad, Resshid, Zakia |
| Předmět: |
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| Zdroj: |
Journal of Research in Humanities; Jan2020, Vol. 56, p239-250, 12p |
| Abstrakt: |
This paper analyses the artistic role of songs and music in Brecht's political theatre. Brecht's self-referential playtext and gestural theatricality is realized with the help of a set of distancing devices called Verfremdung or V-effects. These formal and thematic techniques account for his shrewd theatrics and tactical strategies to question the prevailing hegemonies. Songs and music make one of these alienating techniques. Dialecticization of situations and episodes, repeated ridicule of gaps in the existing ideologies, political comedy and self-critical acting are the building blocks of songs and music to challenge the dominant sociopolitical structures. Unlike the traditional dramatic theatre where lyrics and music specifically contribute to the tragic effect, songs in Brecht's later plays are the essential part of his socially, politically and ideologically committed theatre to stir the rational faculties of the spectators. Instead of smoothing over the spaces of the current ideology, this V-effect exposes its contradictions. These self-questioning songs work as a diagnostic commentary on the theatrical narrative to enlist the audience. Brecht's mature plays Mother Courage and Her Children, The Good Person of Setzuan, and The Caucasian Chalk Circle make the data for the present research. Brecht's theories on theatre worked as the theoretical frame work for the present study. [ABSTRACT FROM AUTHOR] |
| Databáze: |
Complementary Index |
| Externí odkaz: |
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