Distancing effect
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| - | {{Template}}The '''alienation effect ''' (from the [[German language|German]] '''''Verfremdungseffekt''''') is a theatrical and cinematic device "which prevents the audience from losing itself passively and completely in the character created by the actor, and which consequently leads the audience to be a consciously critical observer."<ref>[[Bertolt Brecht|Brecht, Bertolt]], "Brecht on Theater", page 91. Hill and Wang, 1957</ref> The term was coined by [[playwright]] [[Bertolt Brecht]] to describe the aesthetics of [[epic theatre]]. | + | {{Template}} |
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| + | The '''distancing effect''', more commonly known (earlier) by [[John Willett]]'s 1964 translation the '''alienation effect''' or (more recently) as the '''estrangement effect''' (German: '''Verfremdungseffekt'''), is a [[performing arts]] concept coined by [[playwright]] [[Bertolt Brecht]]. | ||
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| + | It is a technique which prevents the audience from [[suspension of disbelief]]. | ||
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| + | Brecht first used the term in an essay on "[[Alienation Effects in Chinese Acting]]" published in 1936, in which he described it as "playing in such a way that the audience was hindered from simply identifying itself with the characters in the play. Acceptance or rejection of their actions and utterances was meant to take place on a conscious plane, instead of, as hitherto, in the audience's subconscious." (''Brecht on Theatre'', 1964, 91) | ||
| + | ==See also== | ||
| + | *[[Alienation]] | ||
| + | *[[Bertolt Brecht]] | ||
| + | *[[defamiliarization]] | ||
| + | *[[Epic theater|Epic Theatre]] | ||
| + | *[[Jean-Luc Godard]] | ||
| + | *[[Rainer Werner Fassbinder]] | ||
| + | *[[Nagisa Oshima]] | ||
| + | *[[Lars von Trier]] | ||
| + | *[[Hal Hartley]] | ||
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The distancing effect, more commonly known (earlier) by John Willett's 1964 translation the alienation effect or (more recently) as the estrangement effect (German: Verfremdungseffekt), is a performing arts concept coined by playwright Bertolt Brecht.
It is a technique which prevents the audience from suspension of disbelief.
Brecht first used the term in an essay on "Alienation Effects in Chinese Acting" published in 1936, in which he described it as "playing in such a way that the audience was hindered from simply identifying itself with the characters in the play. Acceptance or rejection of their actions and utterances was meant to take place on a conscious plane, instead of, as hitherto, in the audience's subconscious." (Brecht on Theatre, 1964, 91)
See also
- Alienation
- Bertolt Brecht
- defamiliarization
- Epic Theatre
- Jean-Luc Godard
- Rainer Werner Fassbinder
- Nagisa Oshima
- Lars von Trier
- Hal Hartley
