Brechtian Techniques

Bertold Brecht (1898 1956) founded the so-called new, or epic subject that creatively re fited the principles of conventional Aristotelian period of play, in order for the plays to correspond to modern demands. Brecht characterised his position in dramatic art as social-critical. He was an active antifascist and thus concern his works on major historical payoffs and gave them a social-political meaning. From the formal forecast of view, Brechtian techniques were based on defamilirisation of the event. First and foremost, he transposed the event into trio person.He uses new concept of authors eon, i. e. time as it is perceived by the narrator of the play. The latter usually tells about the events that happened in the ancient and comments them. In doing so, he freely operates various layers of time, so that the whimsical structure of the story reminds that of a recollection or a dream. Finally, an important component part of Brechtian drama is its increased convention, for instance the march can be off-and-on(a) by speaking stage directions aloud and or via usage of placards and signs.The drama Zoot Suit (1978) by Luis Valdez efficiently uses the Brechtian principles and techniques. Like many of Brechts dramas, this work is a passionate social resist that shows the injustice of the society with rigorously Brechtian didacticism. Valdez wrote this play at the end of turbulent seventies, which in the US were characterised by increased social activity of minorities fighting for their rights, and Mexican Americans were among these.Thus, the dramatist addresses the times, when the Mexican American identity was only forming, and yet it was oppressed and discriminated by the police. Valdez implies that the same thing may happen or even happens in his times and protests against it. In this respect his play may be associate with activities of Guerilla theatre, which considered itself to be a cultural revolt against war and a mouthpiece of social protest move ments. Valdez play also has explicit antiwar and protest connotations, and in accordance with Brechts conception, his art serves political purposes.Furthermore, action is presented and commented by the narrator, the fictional El Pachuco, which is the condensed embodiment of Mexican spirit (pachucos were Mexican American youth who emphasized their Mexican identity and wore zoot suits). He converses with the protagonist of the story, enthalpy Reyna, and in some episodes interferes into action (for instance, he takes the place of Rudy Reyna in an queer fight with sailors). Moreover, from the very inaugural words Valdez emphasizes Brechtian convention. For instance, the drop curtain is giant facsimile of a newspaper front page (1, 1992).Besides in his first monologue EL Pachuco says that he is an actor who plays El Pachuco and recollects this myth. This indicates another Brechtian technique. The narrated action takes place in the past. The setting, as described by the author, emphasi zes that the age of zoot suits is in the past The somber shapes and outlines of pachuco images hang subtly, black on black, against a back-ground of loaded down(p) fabric evoking memories and feelings like an old suit hanging forgotten in the depths of a closet somewhere, sometime (1, 1992).At the same time, in the end El Pachuco says that this legend still lives and is topical, for at least he is interested in telling it. However, this is not the objective past time of Aristotelian drama, scarce rather narrators individual perception. El Pachuco can mark action by making the judge repeat for the second time that zoot haircuts will be retained throughout the trial for purposes of identification (ibid). He also uses sudden retrospections, for example when Henry mentions Saturday night dance, El Pachuco snaps fingers and makes this event repeat.In another instant, he skips witness statement, saying You know what. Weve already perceive from that bato. Lets get on with the defense ( 1, 1992). Besides the conventionality is emphasized by various other interruptions of action. An interesting example of this is when the arrested pachucos stand in a line, the Press starts and they continue the headline. In another episode the Pressmoves the bundles of newspapers on the floor to outline the four corners of a jail cell, i. e.makes the decorations for the conterminous scene in jail (1, 1992). To sum up, the play Zoot Suit by Luis Valdez exemplified Brechtian understanding of social-political role of art and demonstrates a number of Brechtian techniques of the new theatre, among them accentuated conventionality of action, transposition into third person (use of narrator) and into the past, connected with the present, and forcible handling of time. References 1. Valdes, L. (1992). Zoot Suit. Zoot Suit and Other Plays. Houston, TX Arte Publico Press. Pg 22-94.