ABSTRACT
Brecht's approach to temporality as a particular aesthetic dimension in the perception of theatre production involves considerable changes that are bound up with his epic politicized conception of drama. If historification perhaps most literally represents a method to subvert any naturalist representation of time, the dual form of acting itself already prompts a transformation in the conception of temporality at a more basic level. The cause of this shift may be explained by the absolute privilege of vision in Brecht's theatre. Brecht is intrigued by the idea that each pictorial element can be isolated as an independent signifier, by a system of visual organization that facilitates different interpretations dependent on the contextualization of its discrete components. Brecht's concept of temporality is posited as a crucial means of alienation that intends the spectator to look at dramatic action with more distance without becoming victim to the suction of the dramatic flow of narrative.
