Alienation Effect: By - Anil Awad - Simplified

Alienation Effect:

By - Anil Awad

Simplified

I would like to share a genuine example.  As we all know Nana Patekar is the great actor who began his career from stage.  He was playing negative role of a shrewd politician Gulab Rao in Jayant Dalvi’s Marathi Play ‘Pursh’ (Male).  The play staged more than 1900 shows and appreciated by many critics.  One day, the show was going on in Balgandharv Rangmandir, Pune and Nana Patekar was doing his villainous role full-fledged.  Many well-known dramatists and critics were watching it with absolute involvement.  Then there came the incident when Gulab Rao (Nana Patekar) rapes Ambika (the female protagonist) to show his masculine superiority.  Then he came in-between the stage to defend his misdeed and laughs like a scoundrel.  Suddenly, one of the well-known critics stood up and threw his shoe at Nana Patekar disgustingly. For a moment…there was an intolerable silence.  But quickly Nana lifted the shoes and said, ‘This is the truest reward for my performance I ever got!’  But…but…remember that it is the violation of the alienation effect (A-effect).  What is it?       

The term ‘alienation effect’ was first introduced by German Dramatist Bertolt Brecht in 1920.  He borrowed the term from Russian Formalists (The formalist gives priority to form than any other aspects of a genre).  The term suggests keeping the distance between the audience and the actor.  Brecht appeals the audience to cease to identify themselves with the characters and actions.  Similarly, the actors should also keep in mind that they are playing merely a role and should not efface themselves within it. The term ‘alienation effect’ is mainly related to epic theater.    

I AM IN THE PICTURE...VERY MUCH LET TO NANA

   

Thanks.

(Inconveniences related to syntax, grammar, punctuation etc. are regretted.)

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