BRECHTWORKSHOP
HSCTOPIC:BRECHT
WORKSHOPTRANSCRIPT
DIRECTOR:JemmaGurney PERFORMERS: JosefBer,EmilyBrennan,RussellKiefelandAshleyRicardo STAGEMANAGER:ErinDaly
2&3March2011 Wharf2,SydneyTheatreCompany
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PerformanceProloguefromHenryVbyWilliamShakespeare Hieveryone![Link] rightplace,thoughwhatyoujustsawwastheProloguescenefromtheplayHenryVbyWilliam [Link]... Butfirstletmeintroducemyself,JemmaGurney,ImadirectorandIwillbetakingyouthrough thisworkshop. ImjoinedonstagebyfourwonderfulactorswhowillbeillustratingforyousomeofBrechts [Link],EmilyBrennan,RussellKiefelandAshleyRicardo. Whatweregoingtopresentforyoutodayisanexplorationofsomeofthekeyconceptsof Brechtstheatreandalookatplacingthemintocontexttogiveaclearerunderstandingofhow [Link] scenesfromTheLifeofGalileoandTheCaucasianChalkCircletodemonstratetheseconcepts.I knowsomeofyoumaybestudyingMotherCourageorThreepennyOpera,howevertheideas wewillexplorethroughthesesceneswillbejustasusefulinapplicationtotheworksyouare [Link] andifthereisanythingthatcomesupthatyouwantclarificationonwritethequestiondownso wecanaddressitintheQ&A. Ok,theobviousquestionthatneedstobeaddressednowisWhyopenaBrechtWorkshopwith apiecefromShakespeare?.Theanswertothatisquitesimple,whatthatpieceencapsulatesis [Link]...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 [Link] ideaofanactive,involved,participatoryaudiencethatwasatthecoreofwhatBrechtwanted tobringbacktothetheatre. Now,thatleadsmetoanotherimportantpoint,IsayBrechtwantedtobringtheactive [Link] Brechtsideasontheatrewerenotnecessarilynew,ratherheharkedbacktothetraditionsof manytheatresthathadgonebeforeliketheElizabethantheatrethatproducedShakespeare, theMedievaldrama,theGreeks,[Link] traditionsallhadonethingincommon,andthatwasanawarenessofthepretenceoftheatre, [Link] [Link]...whatcanyousee?Lights,tapeonthefloor... youcanseethatweareinatheatreandyouareawareofthefactthatnothingthatoccursin thisspaceisreal,itsaperformance,theseareactors,[Link] makingisthatBrechtsideasaboutdrawingtheaudiencesattentiontothemechanicsof theatrehavenow,infact,[Link] [Link] sucharevolutionaryinthetheatre,wedonothaveacontextbywhichwecanframehisideas becausethoseideas,forthemostpartareanacceptedpartofwhatweunderstandtheatreto [Link],oftenwithoutusevenbeing [Link] thatthiswassomethingthathadbeenleftbehindbythetheatrethatwasbeingproducedin GermanyandmuchofEuropeinthe19thcentury,inwhatiscommonlyknownastheRomantic Periodoftheatre.
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[Link] artificialandtwodimensional,therearesomepracticalreasonsforthisalongwithsome [Link],thetheatresofthis periodinEuropewereoftenmassive,1200seatauditoriums,thatsabout4timesthesizeofthe [Link] electricityintheearlydays,[Link] actingthatdevelopedinthesetheatresevolvedfromaneedtocommunicatemeaningtoahuge audiencesinaprettydimspace,theresultwasaverymannered,melodramaticandtwo [Link],emotions [Link] exaggerated,sowasthemakeuptheywore,enlargingthefeaturesofthefacesothatthey couldbeseenbythepoorguyrightuptheback. Inadditiontothisthetypesofplaysthatwereproducedinthistheatreandthekindsof [Link] itsaudiencesandidealisedversionofrealityinwhichyoucouldeasilyrecognisethegoodguy andthebadguy,youknewthatthebadguywouldgetitintheendandthegoodguywouldbe [Link],[Link] peoplewenttothetheatretoescapereality,[Link],wellitsinteresting tonotethatintheperiodofhistorythatdirectlyfollowedtheRomanticstage,theperiodthat coincidedwiththeemergenceofBrechtandhisnewambitionsforthetheatre,therewas anotherbigdevelopmentindramaticart....anyonewanttotakeaguess?...[Link] right,[Link] theRomantictheatretriedtodo,[Link],tothisdayandlikelyforcenturiesto come,[Link] completelynewreality,watchthevillainsfallandtheheroestriumph,betterthantheyever [Link],findanewpurposein [Link] itsroots,asmorethanjustafrivolousescape,hewantedit,againtobeameansofanalysing, questioningand,hopefully,betterunderstandingourworld.
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Wecangainaprettyclearunderstandingofhisviewsthroughthisquotehegaveearlyinhis career... SowehaveanunderstandingofthekindoftheatrethatBrechtwouldhaveexperiencedasa [Link] emergedinthe20thcentury,howeveritonlytakesuspartofthewaytoplacinghimincontext. Whatisalsocriticaltoknowifwearetoreallyunderstandwherehewascomingfromiswhat [Link] Germany,helivedthroughthefirstWorldWarafterwhichGermanytookaprettybignosedive. Germanyofthe20sand30swasknownasWeimarGermanyanditwasinaprettybadway [Link],[Link] ourfairlystabletwopartypoliticalsystem,inWeimarGermanytherewerelotsoftinyparties [Link] [Link] economywasinchaos,theGermanpeoplehadtocontendwithhyperinflation,peoplewould literallyhavetotakebagsfullofmoneytobyaloafofbreadoracartonofmilkbecausethe [Link] andlifewasfullofuncertaintyand,consequently,therewasapervadingfeelingamongthe [Link] thekindoftheatrethatasocietyproducescanbedirectlyconnectedtothestateofthesociety [Link],inthecaseofWeimarGermany,itisnotsurprisingthatthetheatreofpeoplelike Brechtsoughttograpplewiththechaosandtheuncertaintythatitsaudiencewasexperiencing intheireverydaylives.
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[Link] isaccordinglyanonsense
HistoricalcontextWeimarGermany(20sand30s) Howthestateofthesocietyinfluencesthetheatre
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SonowthatwehaveputthatframearoundBrechtandgottogripswiththewhy?,letsstart tolookatthehow?.ThefirstsceneweareabouttoseeisanextractfromScene3inTheLifeof [Link],havingtalkedearlierabouttheRomanticTheatre BrechtgrewupwatchingisthatGalileoservesasagreatexampleofhowBrechtmovedaway [Link] werepresentedontheRomanticstagehewouldhavebeenamoralherowhostoodupforhis beliefsandwouldtriumph,ifitwereaDrama,orbecomeavictimofinjusticeorfate,ifitwerea [Link] greyareasandwe,theaudience,[Link],inthis sceneweseeGalileo,whohasbeensupportinghimselfupuntilnowthroughmoneygained fromconvincingpeopleinpowerthathehasinventedthetelescope,whenreallyitwasinvented [Link] discoveredandhenowmustsourceanewincomesohecancontinuehiseffortstoprovethat thetheoryofCopernicus,[Link] forherearethechoicesmadeinstagingthesceneandstyleofperformancesgiven. PerformanceGalileoScene3(extract) DiscussionofGalileoscene3 Brechtianactingnatural Antiherojudgementofcentralcharacter,distancing Directaddress Audienceformrelationshipwiththeactors Bearingthedevice [Link] [Link] thetheatresgotsmaller,theacousticswerebetter,butalsoideologieswerechangingand [Link] [Link] [Link],inwhichactingisamaskthat hidestheactorfromus,inBrechtiantheatrewearegiventheopportunitytobecomefamiliar [Link] stageandyouareabletoseethemadoptanddropcharacterandyouareforminga relationshipwiththemasmuchastheircharacters,[Link],likeyousitinjudgement ofthecharactersandtheirchoices.
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IntroductiontoGalileoScene3
Intermsofthestagingofthescenewhatwetriedtodemonstrateforyoutherewasthe [Link] [Link] [Link] andAshleydidtherewithwhatwereobviouslypaperlanternshangingfromsomebitsof bambooisgivearepresentationoftheJupiterthatGalileosawandthediscoveryheisaboutto make,inaprettysimplewayitgivesarepresentationofoneofthecorethemesofthescene and,[Link] drawnbetweenthemovementoutofcertaintyaboutgodandtheuniversethatGalileos discoveryrepresentedandthechaosanduncertaintybeingexperiencedbytheGermanpeople postWW1. IntroductiontoCCCScene2 NowletslookatanotherplaytohelpusexploresomeofthesethemesandtechniquesofEpic [Link] [Link] [Link] thesetwoelements,wewanttofollowthestoryandengagewithitscharacters,butatthe sametimeweareconstantlybeingaskedtomakechoicesandtojudgethechoicesmadebythe [Link] madeinstagingthisplayareveryimportant. Togiveabitofcontext,[Link] Brechtispresentingaworldinchaos,theregimeinNukhahasfallenandthepalaceisunder siegefromtherebellingarmy,[Link] chaostherichandpowerfulGovernorswife,Natella,fleesleavingbehindhersonandhefalls [Link] [Link] amidstthechaosoftheevacuation,GrushacomesacrossSimon,apalaceguardandpotential husband,andwewitnessthehurriednegotiationoftheirrelationship. PerformanceCaucasianChalkCircleScene2(extract) DiscussionofCCCscene2 Song/Speechofthoughts/feelings
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SothereyouhaveakeyBrechtiandeviceofDirectAddressoftenitisasong,sometimesa speechwherethecharactercanbreaktheurgencysetinthescenetorevealtotheaudience whattheyarethinkingorfeeling. IntroductiontoCCCscene4 [Link] years,[Link] [Link] marryahorriblemanwithanevenmorehorriblemotherinordertosurviveandthensuddenly, outoftheblue,Simonshowsup... PerformanceCaucasianChalkCircleScene4(extract) DiscussionofCCCscene4 Useofemotionpresentbutframed ComparisontoStanislavskyExternalnotinternal Singerprovidesinsightintocharacters Stagingassistswithdistancing Oneofthegreatthingsthisscenedoesisdispeloneofthemostcommonmisconceptionsabout [Link],mistakenly,thinkthatall Brechtsworkisdevoidofemotion,thatitspurelycoldexaminationofhumanity,thesceneyou [Link] thecharactersinthisscene,buttheimportantthingtorecogniseisthattheemotionisframed, inordertopreventusfrombeingseducedbyit,[Link] providedbythesingerwhogivesinsightintothecharactersbutalsoservestobreakthemood, tosnapusoutofthatemotionalconnectionandremindusthatwehavechoicestomake. ComparethistotheideasofsomeonelikeStanislavsky,inthiscaseStanislavskywouldhave spenttimedevelopingtheactorsconnectiontotheemotionaljourneyofthecharacter,building theinternalexperienceoftheemotionsothatwhatwewitnessedexternallywasasrealas possibleandtherolethatBrechtsSingerplaysinrevealingtheinternallifeofthecharacteris insteadexposedthroughourobservationofthesubtlenuancesoftheactorsperformance. Brechtrespectedthisbutfeltitdidnotsitwellwithhisvisionforthetheatre,hefounditabit indulgentandpreferredtopresentemotionasanexternaladditiontotheperformancethat couldbeappreciatedbutdidnotdistracttheaudiencefromtheirroleasobjectiveobserver. Brecht/Piscatorcollaborationondesign Thechoicetostagethesceneinthisreaderstheatrestyleisalsoaimedatdistancingyou, [Link] [Link] fromwastheartificial,[Link] designsoftheRomantictheatreweregenerallyroomsoroutdoorscenespaintedontocanvas [Link],paintedonwindows,[Link]
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[Link],wantedtobringdepthand relatabilitytothetheatre,theywantedtheirtheatrespacestohavedepthtotheminwhichreal peopleexist,withrealobjects sothattheeventsthatoccurwithinithavearealresonance. [Link] Govenorswife,Natella,returnstodiscoverthattheonlywayshecanaccessherdead husbandsestatesisthroughtherightfulheir,herson,whohasspentthelastfiveyearsbeing [Link],andGrushaaretakenbeforeajudgewhoistoruleonwhothe [Link],[Link] thenoble,[Link] heisadrunk,andacrook,amarginalfigurewhocametobeappointedjudgebyacomicsetof [Link],but,itisimportanttonote thathedoesinfactrepresentwhatwemightrefertoasBrechtianEthics,thatis,thoughhis methodsmaybehighlyquestionable,hedemonstratesanunderstandingofthenatureof [Link] viewoftheworldwheretherearedegreestowhatisrightandwrongandhedoessothrough characterslikeAzdak... PerformanceCaucasianChalkCircleScene6(extract) DiscussionofCCCscene6 Brechtianethics Thisscenerepresentstheclimacticeventsofthisstory,wewitnessthischaracterwhomwehave followedthroughouttheplayfinallytriumphandberewarded,andyet,onceagainweare [Link],ofcourseisthesong,whats interestingaboutthesongisthatitissorudimentaryandinthiscasecomicalandyetit [Link], essentiallywhatitissuggestingisthatthebeingrichandpowerfulcaninvolveasmuch suffering,ifnotmorethanbeingpoor,thatsaprettybigcallthatBrechtismakinganditisthis [Link],doyouagreewiththat sentiment?Anotherdistancingdeviceinthesceneisagooddealmoresubtle,didyounotice thatwhenGrushaletgoofthechildforthesecondtimeitwasnotuntilaftershehadletgothat
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IntroductiontoCCCscene6
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sheannouncedIcantdoit!,asIsaiditsverysubtlebutbymessingwiththetenseinwhichshe makesthatproclamationBrechtallowsthecharactertoexplainheractionstous,onceagain offeringthecharacterschoicesuptoustoexamine. RecapEpictheatreareactiontoRomantictheatreandthestateofthesociety. Verfremdungseffektreactiontotheatreindenial,returntopreromanticpractices. Examplesofotherdevices OK,[Link],rather thanarevolution,[Link] before,theverymelodramatic,twodimensionaltheatreoftheClassicalGermanstagethat presentedtheworldasblackandwhite,withgoodguysandbadguys,rightandwrongandwith verylittleincommonwiththerealitiesofGermanlife. Thesecondwasthestateofthesocietyatthetimehewascreatinghiswork,asocietythatwas [Link] partofacommunityexperience,withthisinminditsimportanttobeawarethatoneofthe centralconceptsofEpicTheatretheVerfremdungseffektoralienationeffectwasnotabout excludingtheaudience,[Link] thedistancingdevicesthatyouhaveseentoday,alongwithsomewehavenotutilisedliketitle placardsatthestartofscenes,wasreallyaboutlettingtheaudienceintotheartas collaborators,allowingthemonstage,ineffect,withtheactorstoparticipateinthe [Link] breakingdownthefourthwall. IntroductiontoArturoUiPrologueTheatreasmetaphor! [Link] [Link] itisaprologueandlikethatprologueitdrawsourattentiontothetheatricalexperiencethatis [Link] whatsknownasaparableplay,whichbasicallymeansthatthewholethingisonebig metaphor,[Link]
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andAustria,theplayissetinganglandChicagoandthetownofCicerointhe1930sandeachof thecharactersisbasedonakeyfigureandeachoftheeventsreflectsaneventfromthat [Link],notjustfor Brecht,[Link] newcontextitfreesusupasartistsandasaudiencetoexaminetheseissuesmorebroadly [Link] metaphoricinthisway,butthereareplentyofotherexampleaswell,suchasArthurMillers TheCruciblewhichexaminesthetreatmentofsuspectedCommunistinAmericainthe1950s, butdoessothroughthestoryoftheSalemwitchhuntthatoccurredaroundthreehundredyears earlier. SoherewehavetheAnnouncerintroducingustotheeventsandcharactersthatwewillbe examiningoverthecourseoftheplay... PerformanceArturoUiPrologue Pleasethanktheactors... Conclusion,thanksandQ&A
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