ALIENATION EFFECT IS THE USE OF ANTI-PLAY TECHNIQUE.
IT REMINDS SPECTATORS BOTH WATCHING
AND ENACTMENT OF REALITY INSTEAD OF REALITY ITSELF. SUCH TECHNIQUES INCLUDED WITH HARSH
WIDE WHITE REGARDLESS OF THE ACT. ACTUALLY, TAKING PLACE AND LEAVING THE STREET LAMP IN
FULL VIEW OF THE AUDIENCE IN MAKING AN ORTHODOX AND INDICATIVE SENARIES. IN ACTION KEY
JUNCTURES WITH SONGS IN ORDER TO, DRIVE HOME THE DECISIVE MESSAGE (DRAMATIST'S LIT-
MOTIF). DRAMATISTS USED TO DRIVE DECISIONS OF THE VIEWERS. EXPLANATORY CAPTIONS ARE
PROJECTED ON THE SCREEN OR ON THE BRACKADES IN ORDER TO, ENSURE COMMUNICATION. PLAY
TOO MUST BE DETACHED FROM OBSERVERS.
LYARD PLAY BY EDWARD.
DRAMATIC THEATRE V/S THEMATIC THEATRE :-
DRAMATIC THEATRE IMPLICATES THE SPECTATOR IN STAGE SITUATION. EPIC THEATRE TURNS
SPECTATORS INTO OBSERVORS. DRAMATIC THEATRE PROVIDED BY SENSATIONS. EPIC THEATRE'S
AUDIENCES ARE TAKING DECISIONS. SPECTATORS ARE INVOLVED IN SOMETHING INDRAMATIC AND IN
EPIC THEY WERE FORCED. DRAMATIC OFFERS SUGGESTIONS EPIC TAKE ARGUMENT. DRAMATIC THEATRE
IS IN THE THICK OF IT, SHARE THE EXPERIENCE; IN EPIC THEY USED TO ACCEPT THE OBSERVATIONS. IN
DRAMATIC THEY CAN NOT ALTER BUT IN EPIC THEY CAN ALTER. IN DRAMATIC MAN IS A FIX-PONT IN EPIC
MAN HAS A PROCESS. DRAMATIC THEATRE FEEL , EPIC FINDS OR NEEDS REASON.
FORT WALL-
IMAGINARY WALL USED TO SEPARATE THE SPECTATORS FROM THE ACTIONS WITHIN STAGE. THE
SPECTATORS AND PERFORMERS DO NOT ACKNOWLEDGE THAT THEY HAVE BEEN WATCHED. AUDIENCES
ARE OBSERVERS IN BAD CONDITION TO BELIEVE THAT THE WORLD OF THE PLAY IS 'REAL'- IS A
SUSPENSION OF DISBELIEF REST DISRUPTS THE EMOTION. INVOLVES THE CHARACTERS DIRECTLY
ADDRESSING AND ACKNOWLEDGING THE AUDIENCE THEY ARE AWARE OF THE PERFORMANCE HAS
BEEN WATCHED. THE AUDIENCES ARE PROVOKED TO AROUSE EMOTION AFTER LEAVING THE THEATRE.
THEATRE WHICH IS ONCE A PLACE OF PLEASURE NOW TURNS FOR INSTRUCTIONS. TER GUTE NENCH
VON SZEUAN.WAS FIRST TRANSLATED AS TGE GOOD WOMAN OF SZEUAN AS ONE OR TWO PARABLES.
BRECHT'S OTHER PARABLE WAS THE TALKECHIAN BOTH THE PLAYS EMPLOY TECHNIQUES OF CHINESE
THEATRE SUCH AS SONG,DIRECT ADDRESSING CAN STRESSED TO A CHINESE NOVEL.ALMOST
GYMNASTIC ADAPTIBILITY. Brecht interest in historical materialism is evident in the play's treatment of
the contemporary morality and altroinism in social and economic terms.
Shente's Altruism and Capitalist ethos get contrast against the exploitation.
The economic systems determine societies 's morality.Patriarchal systems and Shente among the hero ,a
phallic personality and an exotic influence and thinking what he needs and taking what he needs without
any rigorous act or content .
DISCUSSING THE TEXT -
THE PLAY BEGIN WITH A WATER SELLER NAMED WANG WHO IS TRYING TO OUTRIVE HIS BROTHER
WHILE WORKING IN THE MID OF GODS. THE GODS ARE SEARCHING FOR A GOOD PERSON WHO LIVES
BY THEIR GUIDELINES. WRONG TELLS HIM ABOUT A PROSTITUTE WHO CANNOT SAY 'NO' AND CAN DO
ANY GOOD DEED ASKED. AND IS LIKELY TO OBEY THEM. GOD BLESSESD SHENTE AND REWARDED HER
WITH MONEY AND SHE USED IT TO BUY A TOBACCO SHOP. SHE OPENS THE MONEY AND TOBACCO TO
ANYONE WHO CARES TO ASK. SHE ALSO ALLOWS HOMELESS FAMILIES TO STAY IN HER SHOP. HER
KINDNESS IS IMPRESSIVE FOR THE GODS.THE SHOP BECAME OVER-CROWDED AND LOW ON MONEY.
THEN ONEDAY IS A COUSIN SWETA SWEZAN ,SWETA KICKS OUT THE SHOP AND CONVERT IT INTO A
PROFIT EARNING BUSINESS.THE AUDIENCE PAID AWARE THAT SWETA IS SHENTE IN A MASK.EVENTUALLY
SHENTE RETURNS AND STARTED CHARITABLE ACTIVITIES AS TIME PROGRESSES WHAT OF SCHEZUAN
BREATHES.AND MORE PEOPLE COME TO THE TOBACCO SHOP LOOKING FOR HELP. THUS MORE PEOPLE
DEMANDS SHENTE'S CHARITY.SHWETA SHOWS UP OFTEN SO FREQUENTLY LOT EMPLOYEES/THE SHOP
WITH A BIGGER ONE. THIS HER FRIENDS DID NOT LIKE. AS THE STORY PROGRESSES .THE GOD TELLS
THEM THAT SHENTE CONTINUES TO DO GOOD AND GOD SAID ABOUT THE MORAL RULES THEY HAVE
SET IN PLACE ON THE EARTH. ONE DAY ,AN EMPLOYEE HEARS SHENTE CRYING BUT FINDS SHWETA
WHEN REJECTS ON HER. SHWETA THEN GONE BACK ON MURDERING HIS COUSIN. AT THE TRIAL GOD
DISGUISED THEM AS JUDGES SHWETA THEN CONFESS WHEN ROOM IS CLEAR. GOD SYMPATHISE WITH
THE SITUATION AS THEY REALISE THAT THEIR MORAL PRINCIPLES ARE NO LONGER WORKING.
SINCE THE GODS HAVE SO MUCH TROUBLE FINDING A GOOD PERSON. WE ASSUME THAT BOTH THE
PEOPLE SHENTE'S ARE NOT GOOD. THEIR NEVER ENDING DEMAND FOR SHENTE'S CHARITY PROVED
THIS. SHOP CAN SURVIVE ONLY WHEN IT RUN PROFIT. SHENTE'S GIVE SUPPLIES AND SPACES IN THE PALY
TO THE PEOPLE WHO DIDN'T PAY AND SHENTE COULD NOT HELP ANYONE. SHWETA MANAGES
THROUGH BEINGA A COMPATIBLE BUSINESS-MAN, HE CARES LESS ABOUT THE NEEDS OF THE HELPLESS
NESS AND MORE THE SHOP AND ITS PROFITABILITY. THIS MESHING OF THE CHARACTER IS IMPORTANT
BECAUSE OUR WORLD IS NOT SET UP IN THIS WAY WHERE GOOD PEOPLE SURVIVE . WITHOUT SHWETA
THE SHOP WOULD BE GO BANKRUPT;THE PLAY IS FOR THE BENEFICIAL OF THE WORLD. AS MORE
PEOPLE COME TO SHENTE FOR HELP. SHWETA OFTEN SEEMS FOR THE LARGER SHOP,BAD MORALITY IS
REQUIRED TO SHOW GOOD MORALITY. THE MEETING OF THE PEOPLE GODS ALMOST ADMIT THAT THEIR
SYSTEM IS NOT WORKING.
IN THE EPILOGUE , BRECHT SUGGEST AUDIENCE TRIED TO FIGURE OUT . THIS FITS INTO BRECHT'S
ALIENATION STRUCTURE OF PRODUCTION. HE IS MORE CONCERN WITH GETTING PEOPLE TO
OBJECTIVELY ENJOYING THE PLAY TO FIGURE OUT ORALLY THE CORRECT WAY IS THE DAUNTING TASK
AND BRECHT HAD NO IDEA ABOUT THE PEOPLE'S BEHAVIOUR. HE MAKES THE TASK EVEN MORE
CHALLENGING AND BY IMPLYING THE GODS OF THE PERFECT SYSTEM.
THIS BRINGS HIM THE EXISTENTIAL QUESTION OF LIFE OF WHY ? AND WHAT ? FOR EXISTENCE THE
FOLLOWING DILLEMAS REMAIN UNRESOLVED.
