Comparing Stanislavski and Brecht’s Acting Techniques

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Comparing Stanislavski and Brecht’s acting techniques
Early life
Bertolt Brecht was born in Augsburg, Bavaria. On the 10th February 1898 Brecht's home life was comfortably middle class, despite his occasional attempt to claim peasant origins. Thanks to his mother's influence, Brecht knew the Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama. When he was 16, the First World War broke out. Fearing persecution, Brecht left Germany in February 1933, when Hitler later took power. Stanislavski was born in Moscow on the 17th on januray 1863. Stanislavski had a privileged youth, growing up in one of the richest families in Russia, the Alekseyevs. He was born Constantin Sergeyevich Alexeyev – "Stanislavski" was a stage name that he adopted in 1884 in order to keep his performance activities secret from his parents. As a child, Stanislavski was exposed to the rich cultural life of his family. His interests included the circus, the ballet, and puppetry. Increasingly interested in "living the part," Stanislavski experimented with the ability to maintain a characterization in real life, disguising himself as a tramp or drunk and visiting the railway station, or disguising himself as a fortune-telling gypsy. Techniques

Brecht remained a lifelong committed Marxist who, in developing the combined theory and practice of his epic theatre-Epic Theatre proposed that a play should not cause the spectator to identify emotionally with the characters or action before him or her, but should instead provoke rational self-reflection and a critical view of the action on the stage. Brecht thought that the experience of emotion left an audience complacent. Instead, he wanted his audiences to adopt a critical perspective in order to recognise social injustice and exploitation and to be moved to go forth from the theatre and effect change in the world outside. For this...
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