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Little Empathy in Brecht's THE NICE Person of Szechwan and Mom Courage and Her Kids Brecht is very effective in creating a kind of drama where empathy performs little part. In THE NICE Person of Szechwan it could appear that each action and word can be an try to alienate us and halt any identification you can chance to create. The indiscernible usage of names for character types exaggerating the oriental audio of these is immediately noticeable we.e. 'Wang', 'Shin' 'Sunlight', 'Shen Te', 'Shu Ta', etc. There is also the use of language and intonation in relation to others revealing personality and social position, which will come in the kind of oriental 'bows'. A number of these gestures are already found in Asian theatre. Brecht calls it the 'social gestus.' Music interrupt the plot also, but it isn't the type of 'bursting into song' which discovers in musicals. The music itself noises occasionally out of tune and there can be an offbeat that you might find hard to tap one's feet to therefore one cannot get involved or relate with the music, although tracks from The Threepenny Opera became extremely popular. The moon becoming likened to 'green cheese' as a slur on society's belief in 'a kid of low birth will inherit the earth' and 'The Tune of the Eighth Elephant' whenever there are really just seven anticipates the underhand activities of Sunlight who represents lots of individuals in culture who damage others welfare because of their own individual interest. Each one of these songs are effective in alienating the target audience and have an identical message; the impossibility of a culture being saved by a person. Brecht strives to make a drama where empathy plays little component by drawing one's interest away from any type of identification a single might make, with particularly...