Non-Aristotelian drama

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Non-Aristotelian drama, or the 'epic form' of the drama, is a kind of play whose dramaturgical structure departs from the features of classical tragedy in favour of the features of the epic, as defined in each case by the ancient Greek philosopher Aristotle in his Poetics (c.335 BCE).

The German modernist theatre practitioner Bertolt Brecht coined the term 'non-Aristotelian drama' to describe the dramaturgical dimensions of his own work, beginning in 1930 with a series of notes and essays entitled "On a non-aristotelian drama".[1] In them, he identifies his musical The Threepenny Opera (1928) as an example of "epic form". "[B]y Aristotle's definition," Brecht writes, "the difference between the dramatic and epic forms was attributed to their different methods of construction."[2] Method of construction here refers to the relation the play establishes between its parts and its whole:

Brecht also defines the contrast between the traditional, Aristotelian 'dramatic' and his own 'epic' as corresponding to idealist and materialist philosophical positions:

It is this materialist perspective on the world, and specifically on the human being, that renders the epic form particularly appropriate and useful to the dramatist, Brecht argues. Contemporary science (the term includes what English calls "human sciences"; especially, for Brecht, historical materialism) reveals that the human being is determined by and determining of its circumstances ("social" and "physical"). The epic form enables the drama to stage humanity in a way that incorporates this scientific understanding; the dramatist becomes able to show the human (the level of interpersonal relationships) in interaction with the larger forces and dynamics at work in society (the supra-personal, historical scale):[5]

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  1. ^ Willett (1964, 46).
  2. ^ From an essay by Brecht probably written in 1936; Brecht (1964, 70).
  3. ^ The resonance between this image as a means of describing epic dramaturgical form and the concrete practice of cinematic montage, particularly as theorized by the Soviets, is not coincidental, but rather part of a shared radical modernist aesthetic exploration. (Brecht 1964, 70).
  4. ^ a b Brecht (1964, 46).
  5. ^ This gloss draws on Szondi (1965).

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