Distancing Effect - Techniques

Techniques

The distancing effect is achieved by the way the "artist never acts as if there were a fourth wall besides the three surrounding him The audience can no longer have the illusion of being the unseen spectator at an event which is really taking place" (Willett 91). The use of direct audience-address is one way of disrupting stage illusion and generating the distancing effect. In performance, as the performer "observes himself," his objective is "to appear strange and even surprising to the audience. He achieves this by looking strangely at himself and his work" (Willett 92). Whether Brecht intended the distancing effect to refer to the audience or to the actor or to both audience and actor is still controversial among teachers and scholars of "Epic Acting" and Brechtian theatre.

By disclosing and making obvious the manipulative contrivances and "fictive" qualities of the medium, the actors alienate the viewer from any passive acceptance and enjoyment of the play as mere "entertainment." Instead, the viewer is forced into a critical, analytical frame of mind that serves to disabuse him or her of the notion that what he is watching is necessarily an inviolable, self-contained narrative. This effect of making the familiar strange serves a didactic function insofar as it teaches the viewer not to take the style and content for granted, since the medium itself is highly constructed and contingent upon many cultural and economic conditions.

It may be noted that Brecht’s use of distancing effects in order to prevent audience members from bathing themselves in empathetic emotions and to draw them into an attitude of critical judgment may lead to other reactions than intellectual coolness. Brecht's popularization of the V-Effekt has come to dominate our understanding of its dynamics. But the particulars of a spectator’s psyche and of the tension aroused by a specific alienating device may actually increase emotional impact. Audience reactions are rarely uniform, and there are many diverse, sometimes unpredictable, responses that may be achieved through distancing.

Actors, directors, and playwrights may draw on alienating effects in creating a production. The playwright may describe them in the script's stage directions, in effect requiring them in the staging of the work. A director may take a script that has not been written to alienate and introduce certain techniques, such as playing dialogue forward to remind the audience that there is no fourth wall, or guiding the cast to act "in quotation marks." The actor (usually with the director's permission) may play scenes with an ironic subtext. These techniques and many more are available for artists in different aspects of the show. For the playwright, reference to vaudeville or musical revues, will often allow rapid segues from empathy to a judgmental attitude through comic distancing. A very effective use of such estrangement in an English language script can be found in Brendan Behan's The Hostage.