BRECHTWORKSHOP

HSCTOPIC:BRECHT

WORKSHOPTRANSCRIPT
DIRECTOR:JemmaGurney PERFORMERS: JosefBer,EmilyBrennan,RussellKiefelandAshleyRicardo STAGEMANAGER:ErinDaly

2&3March2011 Wharf2,SydneyTheatreCompany

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PerformanceProloguefromHenryVbyWilliamShakespeare Hieveryone!WelcometoSydneyTheatreCompanyandtheBrechtWorkshop.Yesyouareinthe rightplace,thoughwhatyoujustsawwastheProloguescenefromtheplayHenryVbyWilliam Shakespeare.ButthereisaverygoodreasonforthatwhichIwillgointoinamoment... Butfirstletmeintroducemyself,JemmaGurney,ImadirectorandIwillbetakingyouthrough thisworkshop. ImjoinedonstagebyfourwonderfulactorswhowillbeillustratingforyousomeofBrechts ideas.TheyareJosefBer,EmilyBrennan,RussellKiefelandAshleyRicardo. Whatweregoingtopresentforyoutodayisanexplorationofsomeofthekeyconceptsof Brechtstheatreandalookatplacingthemintocontexttogiveaclearerunderstandingofhow andwhyBrechtisviewedassuchanimportantfigurein20thcenturytheatre.Wehavechosen scenesfromTheLifeofGalileoandTheCaucasianChalkCircletodemonstratetheseconcepts.I knowsomeofyoumaybestudyingMotherCourageorThreepennyOpera,howevertheideas wewillexplorethroughthesesceneswillbejustasusefulinapplicationtotheworksyouare studying.Wewillfinishuptodaywithaquestionandanswersessionssofeelfreetotakenotes andifthereisanythingthatcomesupthatyouwantclarificationonwritethequestiondownso wecanaddressitintheQ&A. Ok,theobviousquestionthatneedstobeaddressednowisWhyopenaBrechtWorkshopwith apiecefromShakespeare?.Theanswertothatisquitesimple,whatthatpieceencapsulatesis oneofthecentralconceptsinBrechtsEpicTheatre.Sowhatisthespeechabout...essentially
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WelcomeandIntroductions

Outlineofworkshopcontentandstructure

DiscussionofHenryVPrologueandlinktoBrechtsideasontheatre.

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 whatthechorusissayinginthispieceisWewanttoshowyouastoryaboutatwomighty monarchies,aboutanepicbattleinvolvingscoresofsoldiersandhundredsofhorses,abattle thattookplaceonavastlandscape,but,sadlyallwehaveisthisunworthyscaffold,thestage, andourselves,itsalljustpretend,andsoweneedyourimaginationstodotherestItsan invitationtoyou,theaudience,toparticipate,tobeactiveandcollaboratewiththeperformers inordertoshareinthetheatricalexperiencethatisabouttounfoldonthestage.Anditsthis ideaofanactive,involved,participatoryaudiencethatwasatthecoreofwhatBrechtwanted tobringbacktothetheatre. Now,thatleadsmetoanotherimportantpoint,IsayBrechtwantedtobringtheactive audiencebackintothetheatreverydeliberately.Itisimportanttoacknowledgethatmanyof Brechtsideasontheatrewerenotnecessarilynew,ratherheharkedbacktothetraditionsof manytheatresthathadgonebeforeliketheElizabethantheatrethatproducedShakespeare, theMedievaldrama,theGreeks,andtheChineseandJapanesetheatres.Thesetheatrical traditionsallhadonethingincommon,andthatwasanawarenessofthepretenceoftheatre, itsartificialnature.Andthisiswhereweconstantlyrunintoproblemswhenstudyingsomeone likeBrecht.Havealookatthespacewearein...whatcanyousee?Lights,tapeonthefloor... youcanseethatweareinatheatreandyouareawareofthefactthatnothingthatoccursin thisspaceisreal,itsaperformance,theseareactors,anditisallmakebelieve.ThepointIm makingisthatBrechtsideasaboutdrawingtheaudiencesattentiontothemechanicsof theatrehavenow,infact,becomecommonplace.Theyareallthingsweareusedtoseeing whenwegotothetheatre.ThismakesitdifficulttounderstandwhyBrechtisconsideredtobe sucharevolutionaryinthetheatre,wedonothaveacontextbywhichwecanframehisideas becausethoseideas,forthemostpartareanacceptedpartofwhatweunderstandtheatreto be.Theyhaveinfiltratedourunderstandingofwhattheatreis,oftenwithoutusevenbeing consciousofthem.SothemostcriticalthingtounderstandwhenwetrytounderstandBrechtis thatthiswassomethingthathadbeenleftbehindbythetheatrethatwasbeingproducedin GermanyandmuchofEuropeinthe19thcentury,inwhatiscommonlyknownastheRomantic Periodoftheatre.
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 ThetheatrethatBrechtwouldhavegrownupwatchingwasaverydifferentthing.Itwas artificialandtwodimensional,therearesomepracticalreasonsforthisalongwithsome relatingtothesocialcontextthatthetheatrewasemergingfrom.Firstly,thetheatresofthis periodinEuropewereoftenmassive,1200seatauditoriums,thatsabout4timesthesizeofthe spaceweareinrightnow.Theotherthingtorememberisthatthesetheatresdidnothave electricityintheearlydays,thatmeansnomicrophonesandnopowerfullights.Sothestyleof actingthatdevelopedinthesetheatresevolvedfromaneedtocommunicatemeaningtoahuge audiencesinaprettydimspace,theresultwasaverymannered,melodramaticandtwo dimensionalactingtechnique.Actorsemployedhugegesturesandvocaltechniques,emotions wereexpressedinextremes.Inthesamewaythattheirvoicesandmovementswere exaggerated,sowasthemakeuptheywore,enlargingthefeaturesofthefacesothatthey couldbeseenbythepoorguyrightuptheback. Inadditiontothisthetypesofplaysthatwereproducedinthistheatreandthekindsof charactersthatwererepresentedwereequallytwodimensional.TheRomantictheatreoffered itsaudiencesandidealisedversionofrealityinwhichyoucouldeasilyrecognisethegoodguy andthebadguy,youknewthatthebadguywouldgetitintheendandthegoodguywouldbe victorious.Itpresentedaworldthatwasuncomplicated,simplisticandpredictable.Initsheyday peoplewenttothetheatretoescapereality,notconfrontit.Soundfamiliar,wellitsinteresting tonotethatintheperiodofhistorythatdirectlyfollowedtheRomanticstage,theperiodthat coincidedwiththeemergenceofBrechtandhisnewambitionsforthetheatre,therewas anotherbigdevelopmentindramaticart....anyonewanttotakeaguess?...Cinema.Thats right,themoviescamealong.Suddenlythisnewmediumofdramaticartwasabletodowhat theRomantictheatretriedtodo,butalotbetter.Hence,tothisdayandlikelyforcenturiesto come,thecinemabecameourgreatescape.Throughmoviespeoplecouldlosethemselvesina completelynewreality,watchthevillainsfallandtheheroestriumph,betterthantheyever couldinthetheatre.Sowhenthishappenedtheatrehadtoreinventitself,findanewpurposein ordertosurviveasanartform.ItsnowonderthenthatBrechtwantedtobringtheatrebackto itsroots,asmorethanjustafrivolousescape,hewantedit,againtobeameansofanalysing, questioningand,hopefully,betterunderstandingourworld.
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 Wecangainaprettyclearunderstandingofhisviewsthroughthisquotehegaveearlyinhis career... SowehaveanunderstandingofthekindoftheatrethatBrechtwouldhaveexperiencedasa youngman.ThishelpsusbegintounderstandwhyhisEpicTheatrehadsuchanimpactwhenit emergedinthe20thcentury,howeveritonlytakesuspartofthewaytoplacinghimincontext. Whatisalsocriticaltoknowifwearetoreallyunderstandwherehewascomingfromiswhat thestateofthesocietywasinGermanyatthetime.SoBrechtgrewupinPrussianmilitarist Germany,helivedthroughthefirstWorldWarafterwhichGermanytookaprettybignosedive. Germanyofthe20sand30swasknownasWeimarGermanyanditwasinaprettybadway duringthatperiod.Thesocietywasnotfunctioningpolitically,economicallyorsocially.Unlike ourfairlystabletwopartypoliticalsystem,inWeimarGermanytherewerelotsoftinyparties thatcouldneveragreeonanything.Governmentskeptfailinganditwasalmostimpossibleto getapieceoflegislationpassedinanefforttotryandstabilisethenation.Asaresultthe economywasinchaos,theGermanpeoplehadtocontendwithhyperinflation,peoplewould literallyhavetotakebagsfullofmoneytobyaloafofbreadoracartonofmilkbecausethe currencywasalmostworthless.Thisinturnleadtorisingcrime.Thesocietysimplydidnotwork andlifewasfullofuncertaintyand,consequently,therewasapervadingfeelingamongthe Germanpeoplethatthingsneededtochange.Thekeypointthatemergesfromallthisisthat thekindoftheatrethatasocietyproducescanbedirectlyconnectedtothestateofthesociety itself.So,inthecaseofWeimarGermany,itisnotsurprisingthatthetheatreofpeoplelike Brechtsoughttograpplewiththechaosandtheuncertaintythatitsaudiencewasexperiencing intheireverydaylives.
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Theatrethatmakesnoconnectionwiththepublicisanonsense.Ourtheatre isaccordinglyanonsense

HistoricalcontextWeimarGermany(20sand30s) Howthestateofthesocietyinfluencesthetheatre

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 SonowthatwehaveputthatframearoundBrechtandgottogripswiththewhy?,letsstart tolookatthehow?.ThefirstsceneweareabouttoseeisanextractfromScene3inTheLifeof Galileo.Whatsinterestingtonotefirstup,havingtalkedearlierabouttheRomanticTheatre BrechtgrewupwatchingisthatGalileoservesasagreatexampleofhowBrechtmovedaway fromthearchetypalherocharactersoftheclassicalGermantheatre.IfthecharacterofGalileo werepresentedontheRomanticstagehewouldhavebeenamoralherowhostoodupforhis beliefsandwouldtriumph,ifitwereaDrama,orbecomeavictimofinjusticeorfate,ifitwerea tragedy.InBrechtsworldheisconflictedandhismoralsarequestionable.Therearealotof greyareasandwe,theaudience,areplacedinapositionofjudgementoverhim.So,inthis sceneweseeGalileo,whohasbeensupportinghimselfupuntilnowthroughmoneygained fromconvincingpeopleinpowerthathehasinventedthetelescope,whenreallyitwasinvented inHollandsometimebeforeandisknownalloverEurope.Justbeforethisscenebeginsthisis discoveredandhenowmustsourceanewincomesohecancontinuehiseffortstoprovethat thetheoryofCopernicus,thattheEarthrevolvesaroundthesunistrue.Somethingstolookout forherearethechoicesmadeinstagingthesceneandstyleofperformancesgiven. PerformanceGalileoScene3(extract) DiscussionofGalileoscene3 Brechtianactingnatural Antiherojudgementofcentralcharacter,distancing Directaddress Audienceformrelationshipwiththeactors Bearingthedevice Sofirstlyletstalkabouttheactingstyle.ForseveralreasonstheactinginBrechtiantheatre shiftedawayfromthatofthehighlydramaticstylesoftheRomanticTheatre.Inpracticalterms thetheatresgotsmaller,theacousticswerebetter,butalsoideologieswerechangingand Brechtwaswritingcharactersthatdidntincorporatethoseextremesofemotion.Sowhat resultedwassomethingfarmorerealistic.Anotherimportantaspectistheideaofthe presentationofacting.UnliketheRealistorNaturalisttheatres,inwhichactingisamaskthat hidestheactorfromus,inBrechtiantheatrewearegiventheopportunitytobecomefamiliar withtheactorsthemselvesaswellasthemanycharacterstheyplay.Theactorsarehereon stageandyouareabletoseethemadoptanddropcharacterandyouareforminga relationshipwiththemasmuchastheircharacters,ifnotmore.They,likeyousitinjudgement ofthecharactersandtheirchoices.
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IntroductiontoGalileoScene3

 Intermsofthestagingofthescenewhatwetriedtodemonstrateforyoutherewasthe BrechtiantechniqueofBearingtheDevice.EssentiallywhatBearingtheDeviceisallaboutisthe oppositeofillusion.Itgoesagainsttheideaofsuspensionofdisbeliefandthepretendingthat whatyouseeisreal.Insteadyouareabletoseethemechanicsofthetheatre.SowhatEmily andAshleydidtherewithwhatwereobviouslypaperlanternshangingfromsomebitsof bambooisgivearepresentationoftheJupiterthatGalileosawandthediscoveryheisaboutto make,inaprettysimplewayitgivesarepresentationofoneofthecorethemesofthescene and,inturntheplay.Symbolicallyitisimportanttobeawareoftheparallelsthatcanbe drawnbetweenthemovementoutofcertaintyaboutgodandtheuniversethatGalileos discoveryrepresentedandthechaosanduncertaintybeingexperiencedbytheGermanpeople postWW1. IntroductiontoCCCScene2 NowletslookatanotherplaytohelpusexploresomeofthesethemesandtechniquesofEpic Theatre.WearegoingtolooknowatafewscenesfromTheCaucasianChalkCircle.Thisplayis possiblyoneofthebestexamplesofBrechtsintentionsfortheEpicTheatre.Itissimultaneously politicalinitsthemesandfullofhumanityandhope.Itstrikesawonderfulbalancebetween thesetwoelements,wewanttofollowthestoryandengagewithitscharacters,butatthe sametimeweareconstantlybeingaskedtomakechoicesandtojudgethechoicesmadebythe characters.ItalsodemonstratesbeautifullytheconstructionofEpictheatreandsothechoices madeinstagingthisplayareveryimportant. Togiveabitofcontext,wewillfirstlookatanextractfromscene2oftheplay.Hereonceagain Brechtispresentingaworldinchaos,theregimeinNukhahasfallenandthepalaceisunder siegefromtherebellingarmy,everyoneisfranticallypackingthingsuptoevacuate.Inallthe chaostherichandpowerfulGovernorswife,Natella,fleesleavingbehindhersonandhefalls intothecareoftheservantgirlGrusha.OverthecourseoftheplaywefollowGrushaasshe strugglestocareforthechildandleadhimsafelythroughthiswartorncountry.Inthisscene amidstthechaosoftheevacuation,GrushacomesacrossSimon,apalaceguardandpotential husband,andwewitnessthehurriednegotiationoftheirrelationship. PerformanceCaucasianChalkCircleScene2(extract) DiscussionofCCCscene2 Song/Speechofthoughts/feelings
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 SothereyouhaveakeyBrechtiandeviceofDirectAddressoftenitisasong,sometimesa speechwherethecharactercanbreaktheurgencysetinthescenetorevealtotheaudience whattheyarethinkingorfeeling. IntroductiontoCCCscene4 Thereisanotherexampleofhowthiscanbedoneinthenextscene.Nowwemoveforwardfive years,tothenexttimeGrushaandSimonseeeachother.Grushahasbeenthroughalotinher efforttoprotectthechildandhashadtomakesomedifficultchoices.Sheendeduphavingto marryahorriblemanwithanevenmorehorriblemotherinordertosurviveandthensuddenly, outoftheblue,Simonshowsup... PerformanceCaucasianChalkCircleScene4(extract) DiscussionofCCCscene4 Useofemotionpresentbutframed ComparisontoStanislavskyExternalnotinternal Singerprovidesinsightintocharacters Stagingassistswithdistancing Oneofthegreatthingsthisscenedoesisdispeloneofthemostcommonmisconceptionsabout Brecht.Thatisthepresenceofemotioninhiswork.Alotofpeople,mistakenly,thinkthatall Brechtsworkisdevoidofemotion,thatitspurelycoldexaminationofhumanity,thesceneyou havejustwatchedprovesthatthatisnotthecaseatall.Wewitnessthepalpableemotionof thecharactersinthisscene,buttheimportantthingtorecogniseisthattheemotionisframed, inordertopreventusfrombeingseducedbyit,enablingustoremainobjective.Thisframingis providedbythesingerwhogivesinsightintothecharactersbutalsoservestobreakthemood, tosnapusoutofthatemotionalconnectionandremindusthatwehavechoicestomake. ComparethistotheideasofsomeonelikeStanislavsky,inthiscaseStanislavskywouldhave spenttimedevelopingtheactorsconnectiontotheemotionaljourneyofthecharacter,building theinternalexperienceoftheemotionsothatwhatwewitnessedexternallywasasrealas possibleandtherolethatBrechtsSingerplaysinrevealingtheinternallifeofthecharacteris insteadexposedthroughourobservationofthesubtlenuancesoftheactorsperformance. Brechtrespectedthisbutfeltitdidnotsitwellwithhisvisionforthetheatre,hefounditabit indulgentandpreferredtopresentemotionasanexternaladditiontotheperformancethat couldbeappreciatedbutdidnotdistracttheaudiencefromtheirroleasobjectiveobserver. Brecht/Piscatorcollaborationondesign Thechoicetostagethesceneinthisreaderstheatrestyleisalsoaimedatdistancingyou, keepingyouobjective.ItsalsoabitofanhomagetoBrechtsideasondesigningthetheatrical space.AnotherelementoftheoldstyleofGermantheatrethatBrechtwantedtomoveaway fromwastheartificial,twodimensionalspacesthatthistheatrewasperformedin.Theset designsoftheRomantictheatreweregenerallyroomsoroutdoorscenespaintedontocanvas flats.Paintedondoors,paintedonwindows,paintedtrees.Itaddedtothewholeartificial
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 natureofthattheatre.BrechtandhiscollaboratorErwinPiscator,wantedtobringdepthand relatabilitytothetheatre,theywantedtheirtheatrespacestohavedepthtotheminwhichreal peopleexist,withrealobjects sothattheeventsthatoccurwithinithavearealresonance. NowletstakealookatthefinalscenefromCaucasianChalkCircle.Thewarhasendedandthe Govenorswife,Natella,returnstodiscoverthattheonlywayshecanaccessherdead husbandsestatesisthroughtherightfulheir,herson,whohasspentthelastfiveyearsbeing raisedbyGrusha.Thechild,andGrushaaretakenbeforeajudgewhoistoruleonwhothe rightfulmotheris.AndhereagainwecomeacrossoneofBrechtsantiheroes,Azdak.Heisnot thenoble,authoritativefigureyouwouldexpecttoseeinaJudgeoftheclassicaltheatre.Infact heisadrunk,andacrook,amarginalfigurewhocametobeappointedjudgebyacomicsetof circumstances.Heisillolgicalandbackwardsinhisdeliveryofjustice,but,itisimportanttonote thathedoesinfactrepresentwhatwemightrefertoasBrechtianEthics,thatis,thoughhis methodsmaybehighlyquestionable,hedemonstratesanunderstandingofthenatureof compromiseandanunderstandingofthegreyareasthatexistinourworld.Brechtpresentsa viewoftheworldwheretherearedegreestowhatisrightandwrongandhedoessothrough characterslikeAzdak... PerformanceCaucasianChalkCircleScene6(extract) DiscussionofCCCscene6 Brechtianethics Thisscenerepresentstheclimacticeventsofthisstory,wewitnessthischaracterwhomwehave followedthroughouttheplayfinallytriumphandberewarded,andyet,onceagainweare distancedfromthecharactersthroughacoupleofdevices.Firstly,ofcourseisthesong,whats interestingaboutthesongisthatitissorudimentaryandinthiscasecomicalandyetit encapsulatesoneofthecorethemesoftheplay.Anditsquiteaweightythemeaswell, essentiallywhatitissuggestingisthatthebeingrichandpowerfulcaninvolveasmuch suffering,ifnotmorethanbeingpoor,thatsaprettybigcallthatBrechtismakinganditisthis thathewantstheaudiencetodebate.Somaybeaskyourself,doyouagreewiththat sentiment?Anotherdistancingdeviceinthesceneisagooddealmoresubtle,didyounotice thatwhenGrushaletgoofthechildforthesecondtimeitwasnotuntilaftershehadletgothat
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IntroductiontoCCCscene6

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 sheannouncedIcantdoit!,asIsaiditsverysubtlebutbymessingwiththetenseinwhichshe makesthatproclamationBrechtallowsthecharactertoexplainheractionstous,onceagain offeringthecharacterschoicesuptoustoexamine. RecapEpictheatreareactiontoRomantictheatreandthestateofthesociety. Verfremdungseffektreactiontotheatreindenial,returntopreromanticpractices. Examplesofotherdevices OK,letsrecap.SoBrechtsEpictheatrewasarediscoveryofoldideasabouttheatre,rather thanarevolution,anditwasadirectreactiontotwothings.Onewasthetheatrethathadgone before,theverymelodramatic,twodimensionaltheatreoftheClassicalGermanstagethat presentedtheworldasblackandwhite,withgoodguysandbadguys,rightandwrongandwith verylittleincommonwiththerealitiesofGermanlife. Thesecondwasthestateofthesocietyatthetimehewascreatinghiswork,asocietythatwas inchaosandwashungryforchange.ThetheatreBrechtcreatedfedthatsocietiesdesiretofeel partofacommunityexperience,withthisinminditsimportanttobeawarethatoneofthe centralconceptsofEpicTheatretheVerfremdungseffektoralienationeffectwasnotabout excludingtheaudience,infactjusttheopposite.Thewholeideabehindthealienationandall thedistancingdevicesthatyouhaveseentoday,alongwithsomewehavenotutilisedliketitle placardsatthestartofscenes,wasreallyaboutlettingtheaudienceintotheartas collaborators,allowingthemonstage,ineffect,withtheactorstoparticipateinthe conversationthatwashappeningabouttheirworldthroughthecharacters.Itwasallabout breakingdownthefourthwall. IntroductiontoArturoUiPrologueTheatreasmetaphor! Withthisinmindletsmovenowtothefinalscene.Thisscenewillserveasakindofmirrorto theprologuescenefromHenryVthatyousawatthebeginningoftheworkshop.Likethatscene itisaprologueandlikethatprologueitdrawsourattentiontothetheatricalexperiencethatis abouttotakeplace.ItcomesfromBrechtsplayTheResistibleRiseofArturoUi.Thisplayis whatsknownasaparableplay,whichbasicallymeansthatthewholethingisonebig metaphor,inthiscaseitisametaphorfortherisetopowerofAdolfHitler.InsteadofGermany
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 andAustria,theplayissetinganglandChicagoandthetownofCicerointhe1930sandeachof thecharactersisbasedonakeyfigureandeachoftheeventsreflectsaneventfromthat periodinGermanhistory.Thisideaoftheatreasmetaphorisanimportantone,notjustfor Brecht,butfortheatreingeneral.Byplacingtheconceptsandissueswewanttodiscussina newcontextitfreesusupasartistsandasaudiencetoexaminetheseissuesmorebroadly withoutgettingboggeddownbythetechnicalitiesofthereality.MostofBrechtsworkis metaphoricinthisway,butthereareplentyofotherexampleaswell,suchasArthurMillers TheCruciblewhichexaminesthetreatmentofsuspectedCommunistinAmericainthe1950s, butdoessothroughthestoryoftheSalemwitchhuntthatoccurredaroundthreehundredyears earlier. SoherewehavetheAnnouncerintroducingustotheeventsandcharactersthatwewillbe examiningoverthecourseoftheplay... PerformanceArturoUiPrologue Pleasethanktheactors... Conclusion,thanksandQ&A

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