BRECHTIAN ACTING TECHNIQUES
Your objec ve is to raise awareness of social issues by being an actor rather than a character.
1. Perform with an awareness of being watched
2. Look at the floor and openly calculate movement
3. Separate voice from gesture – in other words, make vocal and physical ming strange and
disconnected.
4. Remain uninvolved with other actors, physically and emo onally.
5. Stand and move together in a simple, loosely held together group. You are free to change the
course of ac on and make independent decisions.
6. In order to be er instruct your audience, freely acknowledge their diversity. Make eye
contact with each individual within the audience.
7. Address the audience directly from centre stage in full‐front presenta onal fashion.
8. Speak your lines as if it were a quota on and in the manner of delivering a speech in the
third person.
9. Occasionally speak stage direc ons aloud to intensify the idea of unemo onal ac ng.
10. Be cri cal of your character, as if all your ac ons had occurred in the past.
11. Change roles with other actors during rehearsals/performances to remain una ached to any
role.
12. Use robo c, mechanical, dreamlike and other non‐realis c movements.
BRECHTIAN ACTING TECHNIQUES
Your objec ve is to raise awareness of social issues by being an actor rather than a character.
1. Perform with an awareness of being watched
2. Look at the floor and openly calculate movement
3. Separate voice from gesture – in other words, make vocal and physical ming strange and
disconnected.
4. Remain uninvolved with other actors, physically and emo onally.
5. Stand and move together in a simple, loosely held together group. You are free to change the
course of ac on and make independent decisions.
6. In order to be er instruct your audience, freely acknowledge their diversity. Make eye
contact with each individual within the audience.
7. Address the audience directly from centre stage in full‐front presenta onal fashion.
8. Speak your lines as if it were a quota on and in the manner of delivering a speech in the
third person.
9. Occasionally speak stage direc ons aloud to intensify the idea of unemo onal ac ng.
10. Be cri cal of your character, as if all your ac ons had occurred in the past.
11. Change roles with other actors during rehearsals/performances to remain una ached to any
role.
12. Use robo c, mechanical, dreamlike and other non‐realis c movements.