Berlot Brecht

Berlot Brecht - 
Brecht was a German practitioner specialising in theatre, inventing many styles of theatre and theories in the 1920s. He invented theories such as the fourth wall, interrupting the audience's contact with the show. He was against the idea of his audiences sitting passively and getting lost in the narrative of the actual show, rather audiences should look at the show as a presentation of life. 'Epic theatre' is a technique associated with Brecht that practises this, where audiences are reminded they are watching a play, and not getting lost into believing the character and crying/ laughing for them, for example. At this point, he was more interested in facts rather than fantasy. 

Verfremdungseffekt (distancing effect) -
This effect links to the idea of feeling alienated, or distanced from. Brecht wanted the audience to feel an emotional distance from the play by adding techniques that remind the audience they are in fact watching a play, and that the story is not real. Causing this interruption may make the audience feel distanced and uncomfortable - Brecht's intentions. He wanted the audience to be active, and question the artificiality of the theatre and its setup. In thinking about this, Brecht hoped the audience would therefore emotionally distance themselves from problems that required logic.

Brecht and Contemporary media production
The idea of naturalistic theatre (audiences watching a piece of drama and being lost in the storyline and characters, forgetting about real life) is common in modern theatre, though Brecht's theory on Epic theatre and the fourth wall add some depth into theatre and play with audiences emotions, making them equally as important in modern day theatre. This is also done in films, the main character would break the fourth wall - which could be done in many ways, such as addressing the audience directly, commenting on a character within the story/ of their own character, speaking stage directions ironically, etc. A film that practises this by a filmmaker who seems to use the effect widely is A Rainy Day in New York by Woody Allen. The cinematography of the film consists of the 'characters' also filming a film.

Practical, filming using Brecht's theories -
- Moving image piece with no dietetic sound, just a voiceover. 
- The film following a character who goes into the photography studio and over-exaggerates their personality. 
- A voiceover of stage directions as to what the character is doing. film some shots of "Cut," 'director' speaking to the participant. 
- One-shot 

"Script" -

INT. photography studio, Day. 12pm. 

Chantel walks in confidently tying up her hair.  
The photographer follows behind her.
Chantel stands by the backdrop while the photographer, Dan, walks to get the camera. 
The photographer walks around the studio, setting up the lights. The photographer starts to photograph the model. 

(POV of model, photographer speaks directly to the camera)
Dan - "move your hand, smile, flick your hair." 

(POV of photographer, speaks again directly to the camera) 
Chantel - "Like this? How do the photos look?"