Emotional Expressing In Bertolt Brecht's Alienation Effect

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When Bertolt Brecht introduces Alienation effect, a technique of acting in which all “illusion” and “magical” elements are removed from the the stage, he leans heavily on the role of the actor to perform in a way that is almost counterintuitive.

Through the A-effect, as Brecht calls it, the guise of the fourth wall and all pretense that the performance that is being viewed is anything other than a performance are done away with and in doing so the actor sequences the duty of empathically appealing to their audience in a traditional sense (i.e. attempting to provoke an emotional response from the audience). The actor does not however need to remove all empathy from their performance, just enough so that that they are “reproducing particular characters to show their behavior.” In a sense the actor is performing only as one would if they were going about their daily life. In doing so Brecht is attempting to remove the emotional manipulation in traditional; and promote a critical atmosphere for both the actor and the audience.
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This method does not encourage criticism as the aim it’s not to think about the performance while engaged but feel whatever emotion the performance is constructed to convey. According to Brecht new technique, A-effect, critique of performance is achieved and the manipulation and power imbalance in performance is

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