The Lehrstücke (German pronunciation:[ˈleːɐ̯ʃtʏkə]ⓘ; singular Lehrstück) are a radical and experimental form of modernist theatre developed by Bertolt Brecht and his collaborators from the 1920s to the late 1930s. The Lehrstücke stem from Brecht's epic theatre techniques but as a core principle explore the possibilities of learning through acting, playing roles, adopting postures and attitudes etc. and hence no longer divide between actors and audience. Brecht himself translated the term as learning-play,[1] emphasizing the aspect of learning through participation, whereas the German term could be understood as teaching-play. Reiner Steinweg goes so far as to suggest adopting a term coined by the Brazilian avant garde theatre director Zé Celso, Theatre of Discovery, as being even clearer.[2]
Although the texts have a highly formal, rigorous structure, this is designed to facilitate insertions or deletions (according to the exigencies of the particular project). With no actor–audience separation, the emphasis in performance is upon the process rather than upon evincing a final product. This diminishes an alienating division within the theatrical apparatus—characteristically deployed in bourgeois society, and involving a fourth wall—a virtual wall that facilitates, and encourages, a distinction between producers and artistic labourers versus their means of production. The terms of that relationship are contradictory, insofar as ownership of the means of production alienates the labour of the artist. The distinction is no longer operative in the Lehrstücke, Brecht argues.
The primary purpose, intention, or goal of these performances is for the actors to acquire attitudes (rather than to consume an entertainment). This relates to Brecht's theory of Gestus, his substitution for traditional drama's mimesis. The relation to reality is a critical one. Brecht's refunctioned mimesis is understood not as a simple mirroring or imitation, but as a measuring; it always involves some kind of attitude on our part. It is not possible, in Brecht's view, to produce a neutral mimesis. Brecht's poem "On Imitation" elaborates this notion succinctly:
He who only imitates and has nothing to say On what he imitates is like A poor chimpanzee, who imitates his trainer's smoking And does not smoke while doing so. For never Will a thoughtless imitation Be a real imitation.
Brecht also often had questionnaires handed out at the end of the performances, and would rewrite the plays based on the audiences' answers to them.
Ideally, the Lehrstücke project tries to set up a whole series of new dialectical relations. Firstly, the relation between form and content is subsumed or synthesised into a higher dialectic of function; "the means have to be asked what the end is". It thus attempts to side step the whole form and content question in favour of one concerning function. The actor–audience interaction is supposed to become dialectical, as is that between the actor and the text. Principles of interaction govern these two relations.
Brecht eventually abandoned his experiments with the Lehrstücke form, but it has been taken up and developed in the last few decades by the postmodernist dramatist Heiner Müller (in plays such as Mauser (1975) and The Mission (1982)) and by the Brazilian director Augusto Boal. Boal's "forum theatre" took the abolition of the actor–audience division proposed by Brecht and realized it through the use of what he calls a "spect-actor"—a member of the audience who is able to get up onto the stage to actively intervene in the drama presented. The theatrical experience becomes a collective experiment and search for solutions to social problems experienced by the audience.
The German peace researcher Reiner Steinweg de used his seminal analysis of the Lehrstücke form in the work of Brecht (Das Lehrstück. Brechts Theorie einer politisch-ästhetischen Erziehung) to develop his own self-reflexive peace-activist educational work, which initiated his local activism project "Gewalt in der Stadt".[3]
Squiers, Anthony (2014). An Introduction to the Social and Political Philosophy of Bertolt Brecht. Amsterdam: Rodopi. ISBN9789042038998.
Steinweg, Reiner (ed.). 1976. Brechts Modell der Lehrstücke. Zeugnisse, Discussionen, Erfahrungen Frankfurt/M.: Suhrkamp. ISBN3-518-00751-3.
Steinweg, Reiner. 1995. Lehrstück und episches Theater: Brechts Theorie und die theaterpädagogische Praxis. Frankfurt/M.: Brandes & Apsel. ISBN3-86099-250-3.
Steinweg, Reiner: Two Chapters from Learning Play and Epic Theatre
December 18, 2023
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This article needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed Find sources Lehrstucke news newspapers books scholar JSTOR September 2008 Learn how and when to remove this template message The Lehrstucke German pronunciation ˈleːɐ ʃtʏke singular Lehrstuck are a radical and experimental form of modernist theatre developed by Bertolt Brecht and his collaborators from the 1920s to the late 1930s The Lehrstucke stem from Brecht s epic theatre techniques but as a core principle explore the possibilities of learning through acting playing roles adopting postures and attitudes etc and hence no longer divide between actors and audience Brecht himself translated the term as learning play 1 emphasizing the aspect of learning through participation whereas the German term could be understood as teaching play Reiner Steinweg goes so far as to suggest adopting a term coined by the Brazilian avant garde theatre director Ze Celso Theatre of Discovery as being even clearer 2 Contents 1 Definition 2 Some of Brecht s Lehrstucke 3 See also 4 References 5 Further readingDefinition editAlthough the texts have a highly formal rigorous structure this is designed to facilitate insertions or deletions according to the exigencies of the particular project With no actor audience separation the emphasis in performance is upon the process rather than upon evincing a final product This diminishes an alienating division within the theatrical apparatus characteristically deployed in bourgeois society and involving a fourth wall a virtual wall that facilitates and encourages a distinction between producers and artistic labourers versus their means of production The terms of that relationship are contradictory insofar as ownership of the means of production alienates the labour of the artist The distinction is no longer operative in the Lehrstucke Brecht argues The primary purpose intention or goal of these performances is for the actors to acquire attitudes rather than to consume an entertainment This relates to Brecht s theory of Gestus his substitution for traditional drama s mimesis The relation to reality is a critical one Brecht s refunctioned mimesis is understood not as a simple mirroring or imitation but as a measuring it always involves some kind of attitude on our part It is not possible in Brecht s view to produce a neutral mimesis Brecht s poem On Imitation elaborates this notion succinctly He who only imitates and has nothing to say On what he imitates is like A poor chimpanzee who imitates his trainer s smoking And does not smoke while doing so For never Will a thoughtless imitation Be a real imitation Brecht also often had questionnaires handed out at the end of the performances and would rewrite the plays based on the audiences answers to them Ideally the Lehrstucke project tries to set up a whole series of new dialectical relations Firstly the relation between form and content is subsumed or synthesised into a higher dialectic of function the means have to be asked what the end is It thus attempts to side step the whole form and content question in favour of one concerning function The actor audience interaction is supposed to become dialectical as is that between the actor and the text Principles of interaction govern these two relations Brecht eventually abandoned his experiments with the Lehrstucke form but it has been taken up and developed in the last few decades by the postmodernist dramatist Heiner Muller in plays such as Mauser 1975 and The Mission 1982 and by the Brazilian director Augusto Boal Boal s forum theatre took the abolition of the actor audience division proposed by Brecht and realized it through the use of what he calls a spect actor a member of the audience who is able to get up onto the stage to actively intervene in the drama presented The theatrical experience becomes a collective experiment and search for solutions to social problems experienced by the audience The German peace researcher Reiner Steinweg de used his seminal analysis of the Lehrstucke form in the work of Brecht Das Lehrstuck Brechts Theorie einer politisch asthetischen Erziehung to develop his own self reflexive peace activist educational work which initiated his local activism project Gewalt in der Stadt 3 Some of Brecht s Lehrstucke editThe Flight across the Ocean The Yes Sayer and The No Sayer The Horatians and the Curiatians The Baden Baden Lesson on Consent The Decision The Exception and the Rule Round Heads and Pointed HeadsSee also editWalter Benjamin Augusto Boal and his Theatre of the OppressedReferences edit Steinweg 1976 p 140 Steinweg Reiner Two Chapters from Learning Play and Epic Theatre See the German language Wikipedia article on Steinweg Further reading editCalabro Tony Bertolt Brecht and the Art of Dissemblance Longwood Academic 1990 Calico Joy Brecht at the Opera Berkeley University of California Press 2008 Benjamin Walter 1928 Program for a Proletarian Children s Theater Trans Susan Buck Morss Performance 1 5 March April 1973 28 32 Trans from Uber Kinder Jungend und Erziehung Edition Suhrkamp 391 Frankfurt am Main Suhrkamp Verlag 1969 Squiers Anthony 2014 An Introduction to the Social and Political Philosophy of Bertolt Brecht Amsterdam Rodopi ISBN 9789042038998 Steinweg Reiner ed 1976 Brechts Modell der Lehrstucke Zeugnisse Discussionen Erfahrungen Frankfurt M Suhrkamp ISBN 3 518 00751 3 Steinweg Reiner 1995 Lehrstuck und episches Theater Brechts Theorie und die theaterpadagogische Praxis Frankfurt M Brandes amp Apsel ISBN 3 86099 250 3 Steinweg Reiner Two Chapters from Learning Play and Epic Theatre Retrieved from https en wikipedia org w index php title Lehrstucke amp oldid 1176893609, wikipedia, wiki, book, books, library,
