Quick questions on Political theatre: HSC Drama elective

Bertolt Brecht's epic theatre (covered in detail in the brecht-and-epic-theatre dot point) remains the canonical reference for political theatre. Verfremdungseffekt, gestus, narrative structure and songs that interrupt the action have been adopted by virtually every subsequent political theatre tradition.

The political theatre tradition continues in many directions.

David Hare (Stuff Happens, 2004, on the Iraq War), Caryl Churchill (Top Girls, 1982; A Number, 2002; Seven Jewish Children, 2009), debbie tucker green (random, 2008), James Graham (This House, 2012). The Tricycle Theatre's tribunal plays of the 1990s and 2000s (verbatim courtroom drama) were a major political theatre vehicle.

Tony Kushner (Angels in America, 1991; Caroline, or Change, 2003), Anna Deavere Smith (Fires in the Mirror, 1992; Twilight: Los Angeles, 1993), Larry Kramer (The Normal Heart, 1985).

Melbourne Workers Theatre (1987 to 2012) was the most institutionally committed political theatre company. Patricia Cornelius's plays on working-class women, sexual violence and contemporary class politics. Stephen Sewell's larger-canvas political plays.

Anna Deavere Smith, the Tricycle tribunal plays, Roslyn Oades and Alana Valentine in Australia (covered in the verbatim-theatre dot point).

Speaking past the action to the audience. Standard since Brecht.

Real interviews, news footage, court transcripts. Piscator's invention; verbatim theatre's central method.

Boal's Forum Theatre is the developed example. Less radical forms include solicited audience response in Joan Littlewood's productions.

Refusal of Aristotelian rising tension. Scenes that present arguments rather than building emotional climax.

Brecht and Weill, Joan Littlewood, contemporary works that interrupt the action with commentary.

Refusal of psychological realism in favour of presentational performance.

Performing in workplaces, union halls, public spaces, community venues rather than only proscenium theatres.