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Non-Aristotelian drama, or the 'epic form' of the
drama Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television.Elam (1980, 98). Considered as a genre of poetry in general, the dramatic mode has b ...
, is a kind of
play Play most commonly refers to: * Play (activity), an activity done for enjoyment * Play (theatre), a work of drama Play may refer also to: Computers and technology * Google Play, a digital content service * Play Framework, a Java framework * P ...
whose dramaturgical structure departs from the features of classical
tragedy Tragedy (from the grc-gre, τραγῳδία, ''tragōidia'', ''tragōidia'') is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy ...
in favour of the features of the epic, as defined in each case by the
ancient Greek Ancient Greek includes the forms of the Greek language used in ancient Greece and the ancient world from around 1500 BC to 300 BC. It is often roughly divided into the following periods: Mycenaean Greek (), Dark Ages (), the Archaic p ...
philosopher
Aristotle Aristotle (; grc-gre, Ἀριστοτέλης ''Aristotélēs'', ; 384–322 BC) was a Greek philosopher and polymath during the Classical period in Ancient Greece. Taught by Plato, he was the founder of the Peripatetic school of ph ...
in his '' Poetics'' (c.335 BCE) The German
modernist Modernism is both a philosophy, philosophical and arts movement that arose from broad transformations in Western world, Western society during the late 19th and early 20th centuries. The movement reflected a desire for the creation of new fo ...
theatre practitioner A theatre practitioner is someone who creates theatrical performances and/or produces a theoretical discourse that informs his or her practical work. A theatre practitioner may be a director, dramatist, actor, designer or a combination of these t ...
Bertolt Brecht coined the term 'non-Aristotelian drama' to describe the dramaturgical dimensions of his own work, beginning in 1930 with a series of notes and essays entitled "On a non-aristotelian drama".Willett (1964, 46). In them, he identifies his musical ''
The Threepenny Opera ''The Threepenny Opera'' ( ) is a " play with music" by Bertolt Brecht, adapted from a translation by Elisabeth Hauptmann of John Gay's 18th-century English ballad opera, '' The Beggar's Opera'', and four ballads by François Villon, with mu ...
'' (1928) as an example of "epic form". " Aristotle's definition," Brecht writes, "the difference between the dramatic and epic forms was attributed to their different methods of construction."From an essay by Brecht probably written in 1936; Brecht (1964, 70). Method of construction here refers to the relation the play establishes between its parts and its whole: Brecht also defines the contrast between the traditional, Aristotelian 'dramatic' and his own 'epic' as corresponding to idealist and materialist philosophical positions: It is this materialist perspective on the world, and specifically on the human being, that renders the epic form particularly appropriate and useful to the dramatist, Brecht argues. Contemporary science (the term includes what
English English usually refers to: * English language * English people English may also refer to: Peoples, culture, and language * ''English'', an adjective for something of, from, or related to England ** English national ide ...
calls "human sciences"; especially, for Brecht,
historical materialism Historical materialism is the term used to describe Karl Marx's theory of history. Marx locates historical change in the rise of class societies and the way humans labor together to make their livelihoods. For Marx and his lifetime collaborat ...
) reveals that the human being is determined by and determining of its circumstances ("social" and "physical"). The epic form enables the drama to stage humanity in a way that incorporates this scientific understanding; the dramatist becomes able to show the human (the level of interpersonal relationships) in interaction with the larger forces and dynamics at work in society (the supra-personal, historical scale):This gloss draws on Szondi (1965). Epic Theatre also rejects the principle of '' natura non facit saltus'' (nature does not make jumps) which is a methodological assumption of Swedish naturalist Carl Linnæus used in his categorization of plants and animals.


See also

*
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*
Avant-garde The avant-garde (; In 'advance guard' or ' vanguard', literally 'fore-guard') is a person or work that is experimental, radical, or unorthodox with respect to art, culture, or society.John Picchione, The New Avant-garde in Italy: Theoretical ...
*
Dick Higgins Dick Higgins (15 March 1938 – 25 October 1998) was an American artist, composer, art theorist, poet, publisher, printmaker, and a co-founder of the Fluxus international artistic movement (and community). Inspired by John Cage, Higgins was an ...
* Elizabeth LeCompte *
Experimental theatre Experimental theatre (also known as avant-garde theatre), inspired largely by Wagner's concept of Gesamtkunstwerk, began in Western theatre in the late 19th century with Alfred Jarry and his Ubu plays as a rejection of both the age in particular ...
*
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*
Fluxus Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product. Fluxus ...
* Happenings *
Intermedia Intermedia is an art theory term coined in the mid-1960s by Fluxus artist Dick Higgins to describe various interdisciplinarity art activities that occur between genres, beginning in the 1960s. It was also used by John Brockman to refer to work ...
*
Marina Abramović Marina Abramović ( sr-Cyrl, Марина Абрамовић, ; born November 30, 1946) is a Serbian conceptual and performance artist. Her work explores body art, endurance art, feminist art, the relationship between the performer and audi ...
*
Ontological-Hysteric Theater Richard Foreman (born June 10, 1937 in New York City) is an American avant-garde playwright and the founder of the Ontological-Hysteric Theater. Achievements and awards Foreman has written, directed and designed over fifty of his own plays, b ...
*
Performance art Performance art is an artwork or art exhibition created through actions executed by the artist or other participants. It may be witnessed live or through documentation, spontaneously developed or written, and is traditionally presented to a pu ...
* Performing Garage *
Richard Foreman Richard Foreman (born June 10, 1937 in New York City) is an American avant-garde playwright and the founder of the Ontological-Hysteric Theater. Achievements and awards Foreman has written, directed and designed over fifty of his own plays, b ...
*
Richard Schechner Richard Schechner is University Professor Emeritus at the Tisch School of the Arts, New York University, and editor of ''TDR: The Drama Review''. Biography Richard Schechner received his Bachelor of Arts degree from Cornell University in 1956, a ...
* " Speculations: An Essay on the Theater" *
The Wooster Group The Wooster Group is a New York City-based experimental theater company known for creating numerous original dramatic works. It gradually emerged from Richard Schechner's The Performance Group (1967–1980) during the period from 1975 to 1980, an ...


Notes


Works cited

* Brecht, Bertolt. 1964. ''Brecht on Theatre: The Development of an Aesthetic''. Ed. and trans. John Willett. British edition. London: Methuen. . USA edition. New York: Hill and Wang. . * Brecht, Bertolt. 1965. '' The Messingkauf Dialogues''. Trans. John Willett. Bertolt Brecht: Plays, Poetry, Prose Ser. London: Methuen, 1985. . * Szondi, Peter. 1965. ''Theory of the Modern Drama''. Ed. and trans. Michael Hays. Theory and History of Literature Ser. 29. Minneapolis: University of Minnesota Press, 1987. . * Willett, John. 1964. Editorial notes. In ''Brecht on Theatre: The Development of an Aesthetic'' by Bertolt Brecht. British edition. London: Methuen. . USA edition. New York: Hill and Wang. . * Williams, Raymond. 1993. ''Drama from Ibsen to Brecht''. London: Hogarth. . pp. 277–290. {{Bertolt Brecht Bertolt Brecht theories and techniques Modernist theatre