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Alienation effect

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“Sometimes it’s more important to be human than to have good taste.”

Bertolt Brecht
In Sum

The alienation effect was Brecht’s principle of using innovative theatrical techniques to “make the familiar strange” in order to provoke a social-critical audience response.


Bertolt Brecht, 1920-1930s Germany

Bertolt Brecht, German leftist playwright and director, had nothing but disdain for the conventional, commercial “bourgeois” theater of his time. He considered it a “branch of the narcotics business.” Why? The theater of his time, like most Hollywood movies now, relied on emotional manipulation to bring about a suspension of disbelief for the audience, along with an emotional identification with the main character. Audience members were taken on an uncritical emotional roller coaster ride, crying when the main character cried, laughing when s/he laughed — identifying with him/her even when the character had nothing in common with them or their interests (working-class audiences swooningly identifying with a Prince of Denmark, for example).

Brecht saw that these audiences were manipulated by theater technology — beautiful, realistic sets, cleverly naturalistic lighting, the imaginary fourth wall, and most importantly, emotionally effusive acting techniques. He soon watched with horror as the Nazi movement gained popular support in his country with its racist, xenophobic demagoguery, relying on similar emotional manipulation. Emotional manipulation was, to him, Enemy Number One of human decency.

It was in this context that Brecht developed his theory of Verfremdungseffekt, also known as V-effekt, alienation effect, or distantiation effect. (Important disclaimer: there is compelling evidence that many of Brecht’s greatest ideas were developed in uncredited cooperation with his artistic partners).

The alienation effect attempts to combat emotional manipulation in the theater, replacing it with an entertaining or surprising jolt. For instance, rather than investing in or “becoming” their characters, they might emotionally step away and demonstrate them with cool, witty, and skillful self-critique. The director could “break the fourth wall” and expose the technology of the theater to the audience in amusing ways. Or a technique known as the social gest could be used to expose unjust social power relationships so the audience sees these relationships in a new way. The social gest is an exaggerated gesture or action that is not to be taken literally but which critically demonstrates a social relationship or power imbalance. For example, workers in a corporate office may suddenly and quickly drop to the floor and kowtow to the CEO, or the women in a household may suddenly start to move in fast-motion, cleaning the house, while the men slowly yawn and loaf around.

By showing the instruments of theater and how they can be manipulative — for example, the actor calling out “Cue the angry red spotlight!” before he shrieks with rage, or “Time for the gleeful violin” before dancing happily as the violinist joins him on stage, or visibly dabbing water on his eyes when he is supposed to cry . . . the audience can be entertained without being manipulated. Many of Brecht’s techniques have been co-opted and incorporated into contemporary bourgeois theater and film, though his challenge remains relevant: how to confront the problem of emotional manipulation while creating a stimulating, surprising, entertaining, radically critical, popularly appealing and accessible social art practice.

L.M. Bogad is a lifelong creative strategist (guided and goaded by Harpo, Groucho and Zero), co-founder of the Rebel Clown Army, founding director of the Center for Artistic Activism (West Coast), and professor of political performance at the University of California, Davis. He writes, performs, and strategizes with the Yes Men, Agit-Pop, and La Pocha Nostra. Author of Electoral Guerrilla Theatre: Radical Ridicule and Social Movements, Tactical Performance (forthcoming), the play COINTELSHOW: A Patriot Act, and works about the Spanish Civil War, Haymarket Square Riot, Pinochet coup, and the Egyptian revolution. He has led his Tactical Performance workshops in revolutionary Cairo, Reykjavik, Buenos Aires, and across the US and Europe.

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