Word: brechtian
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Hainsworth says he chose the Brecht play because he thought its "theatricality" would fill the large visual space which the Loeb provides. Only the mainstage provides the large space and hightech equipment necessary to create a Brechtian atmosphere of gloom...
...Society. The latter, with its beer-hall vision of the coming new order--a servile journalist wearing a chamber pot, a flabby blimp of a politician with a steaming headful of excrement, and a militarist with a swastika tiepin and ectoplastic dreams of conquest in his skull--has a Brechtian violence that is beyond the scope of most modern cartooning...
...Loeb Ex production downplays some Brechtian flavor. An example is the way the players place more emphasis on dialogue between each other and less on their narrations and asides to the audience. These little connections with the crowd reveal the players are basically human beings that are acting rather than characters being played by human beings. All of this may be a welcome relief since some of his android and too-close-to-the-audience characters can often be irritating. Nevertheless, the story line in the Ex production still delves into the same dark proletarian themes that are depressing...
...Jonestown story in his 1981 book Our Father Who Art in Hell, collaborated on the drama with Trinity Artistic Director Adrian Hall. The result is a some times unwieldy mélange of docudrama, sociological argument, fragmented monologues and musical interludes. This stylization moves the play closer to Brechtian irony than to Greek tragedy. Jones, played with grim conviction by Richard Kneeland, is not a satanic Pied Piper but a drug-addicted preacher with delusions of grandeur. His followers are not pathetic flotsam but all too recognizable products of the '60s: a rebellious flower child, a medical student avoiding...
...most of it before in Sellars' past shows. The attempt at surreal miasma falls short of what he has done in productions such as King Lear, and too many techniques remain unexplained: on stage, for instance, the stage manager and light board at down left and down right. Why? Brechtian alienation? To indicate controlling forces like puppeteers? Sellars lets us neither know nor care...