Political Theatre in Action

Curriculum Area: Level 8 (Year 13) – Drama

Big Idea: Drama is influenced by whakapapa and is a way to respond to and share identity, culture, and perspectives.
Achievement Standard: 3.2 – Demonstrate understanding of a drama or theatre form or period through practical exploration and performance.

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Lesson Overview

This 55-minute lesson focuses on Epic Theatre conventions, as developed by Bertolt Brecht, ensuring students understand and apply these techniques practically. Students will explore how Epic Theatre creates distance (Verfremdungseffekt) to provoke critical engagement and connect this approach to contemporary Aotearoa New Zealand political and social issues.

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Lesson Objectives

By the end of the lesson, students will:

• Identify and explain key conventions of Epic Theatre.
• Experiment with Brechtian techniques through practical exercises.
• Devise a short performance incorporating Epic Theatre conventions.
• Reflect on the effectiveness of these conventions in engaging and educating an audience.

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Lesson Breakdown (55 minutes)

1. Whakawhanaungatanga & Warm-Up (10 minutes)

• Begin with a short mihi to acknowledge the class and reinforce kaupapa Māori principles of shared learning.
• Physical warm-up: "Gesture & Statement" – Students walk around the space and, on cue, freeze into a political gesture (e.g., raised fist, kneeling). A peer steps forward to state a tagline that aligns with their stance, embodying Brechtian direct address.
• Discussion: How can physicality and words influence an audience’s perception?

2. Introduction to Epic Theatre (10 minutes)

• Quick-fire discussion: What is the role of theatre? To entertain? To educate? To challenge?
• Mini-lecture on Brecht’s key Epic Theatre conventions, with student participation:
  • Alienation (Verfremdungseffekt) – Breaking the ‘fourth wall,’ reminding the audience they are watching a play.
  • Gestus – The use of clear, exaggerated physical expressions to make a political point.
  • Narration & Direct Address – Characters speaking directly to the audience to comment on the action.
  • Minimalist Set, Visible Props & Multi-rolling – Actors playing multiple roles with clear, simple costume shifts.
• Link these ideas to New Zealand contexts, such as historical protests, political satire, or current social justice movements.

3. Practical Application – Brechtian Scene Creation (20 minutes)

• Setup: Divide the class into pairs or small groups (2-3 students per group). Provide each group with a stimulus – a headline from New Zealand news (e.g., climate change policies, Treaty settlements, housing crisis).
• Task: Devising a 2-minute scene incorporating at least two Epic Theatre conventions. Encourage experimentation with placards, multimedia, chorus work, off-stage narration.
• Guidelines:
  • "Your audience must never forget they are watching a performance."
  • Use slogans, repetitive refrains, or physical sequences to emphasise key messages.
  • Encourage exaggeration in both voice and movement (Gestus).

4. Performance & Peer Feedback (10 minutes)

• Action: Each group performs while the rest of the class watches critically.
• Feedback Protocol:
  • One student states what Brechtian conventions were evident.
  • Another student asks a critical question about the intent behind certain choices.
  • The group responds, explaining what worked well and what could be refined.

5. Reflection & Wrap-Up (5 minutes)

• “How did these conventions shift the way you engaged with the performance?”
• Link back to kaupapa Māori approaches in performance – how can waiata, haka, or whakataukī embody Epic Theatre elements?
• Quickfire one-word check-in: Students summarise their biggest takeaway from the lesson with a single word or short phrase.

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Assessment Opportunities & Next Steps

• Informal formative feedback provided during performances.
• Students document reflections and ideas in their drama journals, connecting them to their upcoming assessed performance (Achievement Standard 3.2).
• Next lesson: Explore multi-media elements and their role in contemporary political theatre.

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Teacher Notes & Differentiation

• Support students less familiar with political topics by providing simplified stimuli (e.g., a basic sentence summarising an issue rather than a full article).
• Extend advanced students by challenging them to integrate contradictions (e.g., happy music with tragic content) to deepen Verfremdungseffekt.
• Ensure a culturally responsive space by allowing students to bring in their own perspectives and lived experiences.

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Final Thought

Brecht once said, "Art is not a mirror held up to reality, but a hammer with which to shape it." Let’s continue shaping our understanding of theatre as a force for social change!