The Internet and Theories of Fantasy :: essays research papers fc

The Internet and Theories of FantasySummary. This composition analyzes the work of Bertolt Brecht in relation to fantasy and veritableity. Theatre and the Internet today, reach several parallels this paper attempts to unc everyplace and similarly to answer the question is it ever really at that place at all? In conclusion this paper will discharge not that the internet is really just a space of play.Brecht utilise epic theatre to bring forth an idea or substance for the audience to consider while entertaining the audience. Epic theatre involves the ingestion of alienation techniques to distance the watcher from the story still still trim master on the overall meaning. The person who just views the story would likely precede it as fantasy and not reach the true depth of the play. Brecht shocks the viewer by making the events and actions in the play "strange and abstract" this contrasts with striking plays where the audience sympathises and relates to the characte rs of the play. Brecht believed that "To think, or write, or produce a play also means to transform society, to transform the state, to subject ideologies to close scrutiny." Having established this article of belief for himself, Brecht instigated the use of epic theatre in an attempt to break from the wayfaring definition. Although he did not approve of the Aristotelian version, he redefined the nature of katharsis to suit his needs. (Brecht 71-90)Quick to criticism the role of the audience in tralatitious theatre, Brecht placed particular emphasis on the eventual let down created by fantasy. "For many, the theatre is the abode where dreams are created. You, players, sellers of drugs, in your darkened houses volume are changed into kings and perform heroic deeds of safety. In rapture over themselves, or seized with pity they sit in happy distraction, forgetting the toils of daily life. Runaways. .. Of course, should individual come in, his ears still full of the r oar of the city, himself still sober, he would scarce recognize there, up on stage, the world he has just left. And exit your house, he would scarcely know the world-- now no longer king, but lowly man-- hed scarcely find himself at home in real life." (Brecht 54)Brechts reference to actors as "sellers of drugs" is particularly apt imagery. The actors sell a piece of land of fabricated grandeur to the audience, which experiences a rush of feeling leading to an frantic high. However, at the end of the performance, the audience has already experienced the highest emotional climax, the retrospect of which is strung along by the inevitable plot resolution.