This document summarizes the theories and techniques of Bertolt Brecht and Constantin Stanislavski regarding naturalistic and non-naturalistic performance. It describes Brecht's use of "verfremdungseffekt" or alienation effect to distance the audience and encourage critical thinking. It outlines Stanislavski's system which strives for naturalism through techniques like emotion memory and sense memory exercises. Directors influenced by each approach are listed, including Lars von Trier, Jean-Luc Godard, and Rainer Werner Fassbinder for Brecht, and exercises from Stanislavski's system are briefly explained.

1. Non-Naturalistic and
Naturalistic Performance
Brecht and Stanislavski

2. Bertold Brecht (1898 – 1956)
The stage began to be instructive. Oil,
inflation, war, social struggles, the family,
religion, the meat market, all become
subjects for theatrical representation.
— Bertolt Brecht, Theatre for Pleasure
or Theatre for Instruction, as cited in
Beyond Fun and Games (Shyba)
Naturalistic and Non-Naturalistic Performance

3. Bertold Brecht (1898 – 1956)
• Playwright including Mother Courage, Three-Penny
Opera, and Galileo.
• Interested in early use of media, notably projections,
in theatre and theatre’s social function.
• He set up “The Street Scene” as a basic model for
Epic Theatre, notably featuring “Verfremdungseffekt”
or Alienation-effect which “forces the spectator to
look at the play’s social commentary.” (Brecht)
Naturalistic and Non-Naturalistic Performance

4. “Verfremdungseffekt” or Alienation-effect
• A technique where the artist aims to distance him/herself
from the audience and prevent attachment to the work.
• Allows audience to carefully contemplate the
sociopolitical implications of the work. This theory has
been widely influential amongst various filmmakers.
• The goal is to purposely alienate the audience –
intentionally prevent the audience from emotionally
investing in the characters. “Making strange.”
Naturalistic and Non-Naturalistic Performance

5. The Street Scene (Non-naturalistic A-effect approach)
• The demonstrator (actor) need not be an artist
• Demonstrated in the 3rd person. Would be spoilt if the
bystanders’ (audience) attention were drawn to the
actor’s power of transformation.
• Brecht’s theatre also includes “gestus” which is the
combination of physical gestures and “gist” or
embodiment of attitude.
• Also useful in courts of law for re-enacting a crime.
Naturalistic and Non-Naturalistic Performance

6. Directors Known to be influenced by A-Effect
Lars von Trier
(Melancholia: Kirsten Dunst,
Charlotte Gainsbourg)
Jean-Luc Godard
Breathless: Jean-Paul Belmondo)
Nagisa Oshima
(Merry Christmas Mr. Lawrence,
David Bowie)
Rainer Werner Fassbinder
(Marriage of Maria Braun, Hanna Schygulla)
Naturalistic and Non-Naturalistic Performance

7. Constantin Stanislavski (1863 – 1938)
“Never come into the theatre with mud on
your feet. Leave your dust and dirt outside.
Check your little worries, squabbles, petty
difficulties with your outside clothing -- all
the things that ruin your life and draw your
attention away from your art -- at the door.”
—Stanislavski, On Acting and Actors
Naturalistic and Non-Naturalistic Performance

8. Constantin Stanislavski (1863 – 1938)
• Stanislavski’s ‘system’ includes concentration, voice,
physical skills, emotion memory, observation, and
dramatic analysis – strives for naturalism (realism).
• His actor training approach explores character and action
both from the ‘inside out’ and the ‘outside in’.
• Many actors routinely identify his system with Lee
Strasberg’s “Method” approach, an adaptation of
Stanislavski's approach.
Naturalistic and Non-Naturalistic Performance

9. Develop Emotion Memory by studying:
1. Sensory memory (the memory of our five senses).
2. Memory of past experiences.
3. Triggers, or ways of gently jogging our memory,
without trying to force what is hidden out into the
open.
Naturalistic and Non-Naturalistic Performance

10. Stanislavski System Exercises
1. Mental Images. If I am given a line of dialogue, “I am going
home,” how can I draw upon my own home? (emotions we
feel in the situation the writer has invented.)
2. Emotion Memory. “Would you like a coffee?” Recollect
what coffee tastes like. Instant, espresso, capuccino,
Turkish. “What are you doing for Christmas?” (Substitute
your own holiday if required).
3. Recurrent Emotion. If emotion memories go well in
rehearsal, feelings can arise naturally in performance.
Naturalistic and Non-Naturalistic Performance

11. Melancholia, (Lars von Trier, 2011)
• Kirsten Dunst Plays Justine
• Charlotte Gainsbourg, Claire
• A beautiful movie about the end
of the world.
• Dunst won Best-Actress and
Gainsboroug Supporting
Actress, Saturn award, 2012.
• Clip 2:00:00 – 2:08:00

12. Bibliography
• Brecht, Bertolt. 1950. "The Street Scene: A Basic
Model for an Epic Theatre." In Brecht on Theatre:
The Development of an Aesthetic. Ed. and trans.
John Willett. New York: Hill and Wang, 1964.
• Benedetti, Jean. 1998. “Emotion Memory.” In
Stanislavski and the Actor. New York: Routledge.
pp. 61 – 69.
Naturalistic and Non-Naturalistic Performance