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Caucasion chalk circle, metamorphosis and twlth night scripted coursework
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SCRIPTED COURSEWORK…METAMORPHOSIS A COMPARATIVE STUDY OF SCENES FROM: A CAUCASIAN CHALK CIRCLE- BERTOLT BRECHT METAMPORPHOSIS- STEVEN BERKOFF TWELTH NIGHT- SHAKESPEARE Caucasian chalk circle is a play written by Bertolt Brecht in 1944. As a class we went to see an A-level production of Caucasian chalk Circle which introduced to us the theme of metamorphosising. Caucasian Chalk Circle featured a metamorphosis of the entire cast from Russian kolchos into the stereotypical fairy like characters of the chalk circle tale. The opening scene involves the discussion of the resolving of the problem of how to constructively divide the post-Nazi destroyed Caucasian landscape. The performers are first clothed in black simple clothing, their faces incomprehensible, their voices stern and serious. The characters are now toying with the idea that their land is “Not like a cap, not in our country comrade” The entrance of the singer Arkade Cheide underlines the differentiation in to ancient ale of the chalk circle which they announce “Has some bearing on our problem.” The performers demonstrate with emphasism that the production as a whole will be a typical Brechtian Lehrstuck- learning play by transformation on stage from old characters in to new. The singer next announces that he has with him “The old masks” Which translates literally to theatrical make-up and here the cast divides in to two social groups. The first group represents the feudal aristocrats who express grotesque faces and unusual mannerisms. They display one extreme of society. Their costumes consist of the black original clothing this time lined with golden material representing their wealth and hierarchy. The other extreme is represented within the other group who wear hessian rags with scrubbed clean faces. This is where we find Grusha, Simon, the servants and the soldiers. These simple but significant, contrasting costumes combined with expressions, mannerisms and vocal attributes leave the audience with a clear decision on the political messages present. The audiences view on the metamorphosis was portrayed on stage reminding the audience again of the fairytale nature of the chalk circle: - the unbandoned baby, the escape, the romance, the judgement, the happy ending. The story we watched is still a parable, which we must not forget, and is rooted in the reality of the time and place Brecht wrote the play for- post war. The metamorphosis that takes place on stage involves the audiences forcing them to make an opinion on the concluding outcome of he story. Brecht’s design deliberately included audience participation subconsciously and literally. The common opinions that are made combine the hierarchy assumptions and the fact that rights are more appreciated and rewarding when they are earned rather then inherited. Now the first scene is well under way we notice a more personalized metamorphosis focusing on Grusha- a simplistic and naive character. When we first see her she is the picture of rural simplicity, she runs in to an encounter with a soldier- a situation she isn’t normally faced with. A soldier toys with her with suggestive comments and innuendoes that Grusha doesn’t understand (implicated by stage directions). “I’d like to see that goose” Talking to Grusha who is carrying a goose in her arms- she doesn’t understand. The soldiers reply informs Grusha that she is very different to all the other women this soldier has met- she is straightforward and honest. Here Grusha sometimes addresses the audience directly using rhetorical questions to portray her thoughts about worldly insight that she lacks at present but later gains it at the end of her metamorphosis. One Brechtian belief is that actions are not decided by psychological factors but social ones. This belief dramatically shapes Grusha in this scene. Several events now take place, which rush the proposal of Grusha and Simon. The language used here is simplistic reflecting on their clothes; voices and expressions as Simon must flee. Here the pressure really starts applying and straightforward, to the point lines from other characters add the pressure. “Bring the child” “Don’t stand around” “Make haste” The movement comes to a halt with only Grusha left on stage holding the baby. No words are spoken reintroducing Brecht’s alienation technique. Only facial expression tells the audience of Grusha’s feelings. The singer is left to take over the commentary. “Terrible is the decision to do good” This production has always been shown this way through the use of alienation making the characters talk directly to the audience. The singer having the final word is significant so that we can link the parable to the Kolchos situation. “That what there is shall belong to those who are good for it” Although we found out some information by reading about Brecht’s Epic theatre it was the watching of the theatre that provided us with most of the inspiration for our next piece. When watching the performance of the governor’s wife we noticed that the actor had tried to embody very extreme mannerisms form the aristocracy; this is where the political issues came across. These issues almost came across as cartoon characteristics delivering savage and satirical images. Natella used a very grotesque facial expression and stood on points as seen in ballet. Her face was elongated and her teeth bucked and jerking forward. He face was scrunched but her eyebrows raised stretching her face. Her height was gained by standing on her points and walking in an upright jerky manner, flicking each foot up as it left the ground. Her height meant she could look down at the other social group emphasizing her hierarchy. Her voice was high pitched but strong and annoying to listen to.
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