Brecht and adorno
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Brecht and Adorno. Brecht. Art is by definition a political intervention. It can never be apolitical Alienation effect “A” effect Art works producing entertainment. Theatre’s ultimate purpose is pleasure ? Anti-instrumentality of the endeavor (as opposed to fascist art?)

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Brecht and Adorno

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Brecht and adorno

Brecht and Adorno


Brecht

Brecht

  • Art is by definition a political intervention. It can never be apolitical

  • Alienation effect “A” effect

  • Art works producing entertainment. Theatre’s ultimate purpose is pleasure

  • ? Anti-instrumentality of the endeavor (as opposed to fascist art?)

  • Emphasis on historical specificity: each society produces its own kinds of theater

  • Unexamined: B does not rethink the role of science, but he proposes to apply scientific methods to social life

  • Influence of Brecht in the US and Latin America: tools, theater, goals. Brechtian theater contradicts the hegemonic training of actors in the US

  • Pleasure and politics: Marxist approach to pleasure in politics

  • his audience is working class

  • Need to work with emotions, but at distance (anti-theatrical)

  • Pleasure does not need justification

  • Theatricality trains the audience to be a good audience

  • About Brecht:

  • Contradictions rational / irrational . Reason / emotion .

  • working class / intellectuals


Brecht s proposal for theater

Brecht’s proposal for theater

  • Goal: To transform audience to a state of suspicious inquiry. Make strange the ordinary

  • Tools:

  • making the state of things looks “strange.” Split between representation and the object represented?

  • Theater for “children of the scientific age”

  • Pleasures: weaker (simple) and stronger (complex)

  • Attitude towards society as attitude towards nature

  • Appeals to rationality (as opposed to the irrationality of fascism)

  • Anti-naturalist: making things look strange: separating the character and the actor/actress so there is no way of identify both


Adorno

Adorno

  • Art not only addresses its issues by taking them as subject

  • There is no un-political art, for there is no outside of society

  • Committed: explicit political involvement and message of art. Art as a means

  • Autonomous: art for art’s sake. Art as an end

  • even when oppositional, art is always part of society

  • Showing suffering as obscene

  • about Adorno:

  • ? Consumerism / victimizing?

  • How to talk about violence without reproducing violence?

  • Educating audience vs. creating work ?

  • Reenactment of traumatic situation can be healing:


Fascism and political performance

Fascism and Political Performance

  • Private vs. public

  • Private is exposed


Notes to retake

Notes to retake

  • Popular

  • Commodification of the tools

  • political effective

  • Role of the audience in live and mediated (transmitted) performance


Notes on the images

Notes on the images

  • The intellectuals, politics, the academy

  • Artists and the state. How can art be socially relevant?

    • Adding to the problem vs. addressing something that is silenced

    • Contributing to healing process

  • How can academic work be socially relevant?

  • Latour’s “factishes,” in the analysis of belief and fact


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