LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 16:12 December 2016
ISSN 1930-2940

Managing Editor: M. S. Thirumalai, Ph.D.
Editors: B. Mallikarjun, Ph.D.
         Sam Mohanlal, Ph.D.
         B. A. Sharada, Ph.D.
         A. R. Fatihi, Ph.D.
         Lakhan Gusain, Ph.D.
         Jennifer Marie Bayer, Ph.D.
         G. Baskaran, Ph.D.
         L. Ramamoorthy, Ph.D.
         C. Subburaman, Ph.D. (Economics)
         N. Nadaraja Pillai, Ph.D.
         Renuga Devi, Ph.D.
         Soibam Rebika Devi, M.Sc., Ph.D.
Assistant Managing Editor: Swarna Thirumalai, M.A.

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The Use of Music in the Light of Brechtian Theories and Practices

Dr. Hemant Kumar Shukla and Dr. D.R. Purohit


Abstract

The present investigation focuses on the musical techniques which could prove to be effective to alienate the audience from being carried out. Bertolt Brecht’s disgust with the dramatic theatre which was Aristotelian Theatre in his view motivated him to find out the ways in which the audience could be stopped to identify themselves with the characters, plot and situation. His targeted audience was common and ordinary people. He wanted to make them aware, knowledgeable of the causes of their miseries. Epic Theatre was the result of his long search and research for a theatre which could be capable of catering to the aspirations and desires of the common and ordinary people which were his targeted audience. Music was the area in which he tried to experiment. Whatever he wanted, you will read in the forthcoming lines what kind of the music he aspired. He wanted HIS MUSIC to be setting forth the text, taking the text for granted, taking up a position, giving the attitude. In what way? What were the experiments? Please read the paper.

Keywords: gestus, gestic music, Die Hauspostille, Verfremdungseffekt, The Threepenny Opera

Bertolt Brecht (1898–1956)

Bertolt Brecht (1898–1956), a German Dramatist, was of the view that the isolated episodes of the play should retain their individual significance, even if taken out of the context of the play as a whole. In the same way, the non- literary elements of the production like decor, music and choreography should also retain their independence. Music was utilized by Brecht to create alienation effect. Brecht suggests that “words, music and setting must become more independent of one another.”1 In Epic Theatre, the actors through their singing capability report the human nature, situations, and impulses. They work like a reporter. To keep the audience relaxed and yet receptive, they stimulate their critical faculties and to make them think the Epic Theatre employs the music that is capable of communicating the meaning. Brecht lays down certain rules for the music of epic theatre which are in direct contradiction with the music of dramatic theatre.2

This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.


Dr. Hemant Kumar Shukla
Associate Professor in English
M.B. Govt. P.G. College Haldwani (Nainital)
Uttarakhand-263139
India
hemantkumar.shukla1@gmail.com

Dr. D.R. Purohit
Head of the Department
Department of English
Garhwal University Srinagar-Garhwal
Uttarakhand
India
badri_supreme@yahoo.com

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