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Q.Any 3 Examples of Brecht's Use of Alienation In?

This document discusses Brecht's use of alienation in his play The Good Person of Szechwan. It provides 3 examples: 1) Shen Teh's occupation as a prostitute alienates her from others in the town. 2) The inclusion of poetry and songs adds non-linear complexity but feels forced. 3) In the ending, the Gods acknowledge Shen Teh's goodness but then leave her behind to deal with problems they caused, disconnecting her from the Gods. Brecht aimed to make the audience aware they were watching a play, not something real, through alienation techniques.

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Jonik Kalal
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512 views4 pages

Q.Any 3 Examples of Brecht's Use of Alienation In?

This document discusses Brecht's use of alienation in his play The Good Person of Szechwan. It provides 3 examples: 1) Shen Teh's occupation as a prostitute alienates her from others in the town. 2) The inclusion of poetry and songs adds non-linear complexity but feels forced. 3) In the ending, the Gods acknowledge Shen Teh's goodness but then leave her behind to deal with problems they caused, disconnecting her from the Gods. Brecht aimed to make the audience aware they were watching a play, not something real, through alienation techniques.

Uploaded by

Jonik Kalal
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as RTF, PDF, TXT or read online on Scribd
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Name : Jonik Kalal

2755

Modern European Drama Assignment

Semester VI

Q.Any 3 examples of Brecht's use of alienation in?


The Good person of Setzuan.

The Good Person of Szechwan was written by Brecht in 1943. The play
opens with Wang, a water seller who is on a search for Gods who are
visiting Szechwan. The Gods are on earth, searching for someone who is
‘good’ in order to restore their faith in humanity. They are looking for a
place to stay, and in spite of Wang’s assurances that they will be able to
find a lodge, no one in Szechwan believes or is willing to host the Gods.
Shen Teh, a prostitute, offers to have the Gods stay with her. In return,
the Gods thank her by giving her 1000 silver dollars. Through the
setting, characters and narrative structure Brecht employs the use of
verfremdungseffekt, translated as the ‘alienation effect’.

Brecht borrows from Russian formalist critic Victor Shklovsky’s


concept of ‘Ostranenie’, which is center or making things strange
dissimilar. Ostranenie is centered on defamiliarize and making things
seems strange. The alienation effect was not solely focused on a style
of acting, but a style of performance itself. Brecht wanted to consider
“delineating the separate components of acting, directing, and set
design rather than unifying them".
Additionally unlike dramatic theatre, Brecht did not aim to make an
audience empathize with his characters. In fact, he wanted the
audience to actively be aware of the fact that they are watching a play
that is staged and not something that is real.

Brecht emphasizes that “if empathy makes something ordinary of a


special event, alienation estrangement makes something special of an
ordinary one” .When examining Shen Teh specifically, her occupation
alienates her from the rest of the townspeople.On a fundamental level,
she is a singular character, trying to do good. Though her intention to
stay true to the morals she believes in does not shift over the course of
the play, her interactions with other characters do. After buying a
tobacconist shop, several people show up at her store asking her for
favours, to which she complies to. The turning point in the character of
Shen Teh however is when she adopts the persona of Shui Tai.
Throughout the course of the play, Shen Teh and her cousin Shui Tai are
seen as distinct characters. Shen Teh is compassionate and even
vulnerable as she lets people take advantage of her. Shui Tai on the
other hand, comes across as rather unemotional and not easily swayed
by the troubles of others.

Aside from singular characters, Brecht’s alienation effect is closely tied


with the narrative structure of the play. There is poetry and song
intertwined in the narrative that add a degree of complexity and non-
linearity to the play.

I imagine it would be a little like a musical or Moulin Rouge (a much


picked on example of characters randomly bursting into song and
dance). Unlike the aforementioned technique, I did not enjoy this one.
Even while reading, it is hard not to pay attention to the verse.
However, when reading, I felt that it kind of cluttered the play.

The verses do not add much to the play and every time I saw them, I
wanted to skip over it. Part of me thought it was a terrible way to try to
include the Chinese setting. The Chinese are known for their verse,
especially haiku. Instead of sliding it into the play, the inclusion of verse
seems far too forced and unnatural. I think if Brecht had tried to stick to
a form or tried to include it better, the effect would have worked.

But, Brecht consciously tried to alienate the audience, so making the


verse seem force may have just been a way to emphasize the fact that
he wanted the audience to remember they were seeing a play. The
unnatural feeling would probably jerk the audience out of the magic of
seeing a performance as they try to think over what they heard and its
importance to the play. Overall, I didn't mind the characters speaking to
the audience as an alienation technique, but found the latter to
sufficiently alienate the audience.

The third example that I would like to bring infront is from the scene
10, The Gods are seen as acknowledging that Shen Tai is a good person
and should stay in Szechwan.However,She must deal with the people
she made promises to and let down. Though she pleads with them to
take her, the Gods simply leave her behind. Ultimately the Gods seem
to have caused more problems that found a solution. If not for the
reward they gave Shen Teh, she would not have been approached by
people wanting to take advantage of her money and shop. In fact, the
last stage direction before the epilogue reads that “As Shen Teh
stretches desperately towards [the Gods] they disappear upwards,
waving and smiling” (Brecht). There is such a sense of disconnect
between Shen Teh and the Gods who have had an influence on her life.
Shen The herself is alienated in the play. Her ‘goodness’ as a person
becomes both an alienation reason that allows her interact with other
characters in the story, but it is also the reason why the Gods stay and
then leave.

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