Performing Baal

dc.contributor.authorFewster, R.
dc.date.issued2015
dc.description.abstractIn 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.citationStudies in Theatre and Performance, 2015; 35(3):189-203
dc.identifier.doi10.1080/14682761.2015.1080421
dc.identifier.issn1468-2761
dc.identifier.issn2040-0616
dc.identifier.urihttps://hdl.handle.net/11541.2/116522
dc.language.isoen
dc.publisherRoutledge
dc.rightsCopyright 2015 Taylor and Francis Access Condition Notes: Postprint available after 1 July 2017
dc.source.urihttps://doi.org/10.1080/14682761.2015.1080421
dc.subjectproduction
dc.subjectrock music
dc.subjectchord structures
dc.subjectmelodies
dc.titlePerforming Baal
dc.typeJournal article
pubs.publication-statusPublished
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