(For: Theatre Text in Context - focused on: Epic Theatre/Brecht) What is that we need to leave out so we won't encourage illusion and to keep in so to encourage experience?

Let's try to find the answer of this question by looking at what Brecht wrote in 'The Street Scene', which is his approach to the model for epic theatre. To examine how epic theatre works he suggests that we work on a scene (incident as he names it) that happens at the street, for example a traffic accident. The bystanders may describe the 'incident' with different ways and may disagree with the driver because they simply see - experience- the components of this scene/incident with a different way. When rehearsing this scene, we may want to approach it not as characters, but as demonstrators. Let's consider; does the tone of the voice of my character as a the victim of the accident play any immediate part in how the accident happened? (Brecht suggests that we work on the line: 'Look out!') For example, does it make any difference if the voice is from a female or a male? Old or young? High pitch or low pitch? Let's try this out now. Try to say the same line and apply it to all the above characteristics. Now you see that we have taken away the illusion of the representation - it doesn't really matter whether our victim has these characteristics which would apply to a rich theatre direction.Now let' see how we apply the experience for the audience. Try to say this line with a soft tone ('Look out') Immediately you create a series of causes and effects that lead to a certain experience. Was the victim absent-minded? Was she/he trying to make this accident happen? Try it now with a loud voice ("LOOK OUT!"). What do you observe? Now try to see how your character (victim) will respond to the driver's line ( "Ten hour I've been at the wheel"). Does he want the driver to lose his job? Remember that in Epic Theatre you as a demonstrator (actor) work on your character only through his/her actions. You imitate their actions creating a background framework of information and by doing that you submit emotions to your audience criticism (exactly what would have happened in a true traffic accident-street scene) thus, your leave room for your spectators to experience through criticising what happened rather than being emotionally manipulated by illusions towards a certain reaction.