ABSTRACT
Whenever Brecht’s theory and practice of the theatre are discussed, the focus is mainly on the concept of Epic Theatre, on “alienation,” “estrangement,” “distancing,”—whatever term is preferred-and the discussion yields vastly different opinions and often rather imaginative interpretations of what Brecht supposedly did, or intended, as a theorist and practitioner of the theatre. There is, of course, the other term coined by Brecht, Gestus. However, it seems to invite less attention and explication by Brecht scholars. It certainly is not very familiar to actors and directors in the American theatre. I would like to talk about Brecht’s concept of Gestus and formative influence American performance traditions had on it.
