Liróforo Gabriel Velázquez The Toledo
Brecht and Artaud. The theater and poetry.
Bertolt Brecht (1898-1956) assumed that "The theater is to represent living fictions of human events occurred or invented to amuse." Idea throughout his book Small organon for the theater, it is recurrent, as opposed to the that was the predecessor of the break with the formal structures of the theater in the West, Antonin Artaud (1896-1948), who was looking at the "Theatre of Cruelty," an emotional response stemming from saturation and intensity. Both models are transformed in the mid-twentieth century, the concept of theater as a whole, leading to a transformation from its roots. Brecht
catalogs for this amusement Amusement and weaknesses, (simple and complex), the latter more complicated and rich aspects "most contradictory and fraught with consequences," meaning those that had a relationship with the exercise of discretion. Brecht said that "The task of the theater, like the other arts, is to entertain people. This gives the special dignity. " Like Aristotle, believes that "Nothing higher nor lower than anything to amuse people." Thus differentiating the dynamics of the "Reflection smart" Artaud proposed for the assessment of a show in all its aspects (music, art, drama).
Brecht insists that the "amusements of various ages were of course different, according to the ways that men had to live." The historical category social helps us understand the way that the theatrical was observed before the emergence of new values \u200b\u200b"Inaccuracy or even the apparent implausibility, bothered little or nothing, while the inaccuracy it has a certain consistency and the unlikelihood be consistent." Never mind that there were inaccuracies or errors in the stories depicted, but ourselves of the beautiful and great feelings of the protagonists of the story. Involve the audience. Artaud seeks, in the exercise of a theater that seeks to engage the emotions of the viewer with the ritual that represent actors, the public also have a positive impact of what he observes, but the shock resulting from the show itself to represent you.
opinion about exercise unprofessional actors "commercial" which Brecht disdains the time, is shown in its view that: "This reduces our pleasure in the theater are inconsistencies in the representation of human events" and though prepared in this way the split with the theater "ritual" of Artaud to propose the free exploration of the scene in pursuit of a smart and simple show, disposed of the search for metaphysical, inner, unconscious of his predecessor.
How should offer our representations of human society? What is the attitude productive against nature and against society, that we, children of a scientific age, we adopt them entirely in our theaters? These are the questions that Brecht heir of his time and will try to respond to the exercise of the absurd. And for the scholarly work, proposing "Our attitude must be critical. If it is society, revolution. " Seeks to bring social revolutionary theater, ie those capable of transmitting a work, certain message. "Do not forget when they are with us, his youthful interests in order to trust the world to their brains and their hearts, to transform it according to its criteria." Artaud on the other hand, started from the precept of "Ritual of theatricality" in their quest for a changing liturgy but deeply intelligent but severely critical Brecht: "What interests the viewers in those theaters, it is misleading to make the change of a contradictory world, on the other harmonious, or a not very well known, other dreams. " The reality hit the stage, presenting a new face: "Theatre has to compromise with reality in order to extract truly effective representations of reality." Including moralistic values \u200b\u200bof society in which the dramatic action occurs: "And this will also that viewers enjoy the specific morality of his time tied to productivity. "
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