UDC 792.2.03
DOI: 10.36871/hon.202301054
Authors
Nikita N. Krygin,
Crimean University of Culture, Arts and Tourism, 295017, Russian Federation, Simferopol
Abstract
The theatre of Berthold Brecht is well known in the Russian theatrical space. Attitudes towards
Brecht's dramaturgy and his theories have changed at different stages in the development
of Soviet and Russian theatre art, and approaches to staging his plays in theatres have also changed, but the practice of authentic reading of the epic theatre theory still remains
poorly understood.
The author systematizes the most characteristic elements of Brecht's epic theatre, such as
alienation and social gestus, and considers the practical aspects of their implementation (miseen-
scène, music, scenography) in authentic or closely related theatre productions, as well as theatrical
forms, which to some degree meet the goals and the tasks that Brecht set for the theatre.
The author reconstructed the system of epic theatre in the work on the play "The Threepenny
Opera" with the final year students of the "Theatre Directing" specialty, in which an attempt
was made to rethink the foundations of the Brecht theatre from a contemporary perspective.
In conclusion, the author considers the experience of this work as a factor in the formation of
students' abilities for creative search beyond the formal techniques learned in the basic school
of Russian psychological theatre.
Keywords
Berthold Brecht, "The Threepenny Opera", alienation, social gestus, theatre reconstruction
