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"Weeping for Hecuba": Is It a "Brechtian" Act?

In the period between the two world wars, Bertolt Brecht constructed, both through his plays and stage-productions as well as through his theoretical writings, an elaborate model of dramaturgy and theatrical performance which he labelled “epic theatre.” Its central tenets developed as a conscious reaction against the type of drama which he termed comprehensively “Aristotelian” theatre, denoting thus the Western theatrical tradition which goes back to fifth-century Athenian drama. In Brecht’s evaluation the cornerstone of the Aristotelian theatre is the notion of “Einfuhlung,” i.e., the spectator’s tendency to empathise with characters and action (see, e.g., Brecht 1964.87), while his own ideal drama appeals first and foremost to the viewer’s reason. 1 In this type of theatre the indispensable prerequisite for understanding is the spectator’s “alienation” from the stage-world (Brecht 1964.71):