Performing Baal
| dc.contributor.author | Fewster, R. | |
| dc.date.issued | 2015 | |
| dc.description.abstract | In 2012, a team from the University of South Australia that included third-year students, theatre director/lecturer [author] and two music practitioners/lecturers: pianist Richard Chew and guitarist Rob Pippan combined to create a production of Bertolt Brecht’s Baal. The approach was to produce a rock music version where the team composed new song chord structures and melodies for the existing Brecht text. The staging foregrounded the performativity of a presentational style of acting, heavy metal-inspired music and use of aural and visual digital technologies – an intermedial dramaturgy. This, we suggest, constituted a post-Brechtian approach: taking Brecht’s foundational ideas of Epic theatre (Episches Theater) and freely playing with them within a ‘fun’ rock context. The fun or Spass as Brecht referred to it, contrasted with the dark fable of the play and resulted in an extension of Brecht’s strategies of defamiliarisation (Verfremdung). | |
| dc.identifier.citation | Studies in Theatre and Performance, 2015; 35(3):189-203 | |
| dc.identifier.doi | 10.1080/14682761.2015.1080421 | |
| dc.identifier.issn | 1468-2761 | |
| dc.identifier.issn | 2040-0616 | |
| dc.identifier.uri | https://hdl.handle.net/11541.2/116522 | |
| dc.language.iso | en | |
| dc.publisher | Routledge | |
| dc.rights | Copyright 2015 Taylor and Francis Access Condition Notes: Postprint available after 1 July 2017 | |
| dc.source.uri | https://doi.org/10.1080/14682761.2015.1080421 | |
| dc.subject | production | |
| dc.subject | rock music | |
| dc.subject | chord structures | |
| dc.subject | melodies | |
| dc.title | Performing Baal | |
| dc.type | Journal article | |
| pubs.publication-status | Published | |
| ror.fileinfo | 12142961510001831 13142951070001831 9916001111101831_53116348750001831.pdf | |
| ror.mmsid | 9916001111101831 |
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