Gestus by Bertolt Brecht

V magistrskem delu obravnavam pojem gestus Bertolta Brechta. Sicer je v zgodovini gledališča potujitveni učinek zasenčil gestus v Brechtovem epskem gledališču, vendarle pa so se nekateri teatrologi in teatrologinje osredotočali prav na ta del Brechtove metode oziroma gledališke prakse. V prvem delu magistrskega dela definiram gestus na podlagi Brechtovih spisov, esejev in zapisov, nato skušam ta koncept najti tudi v njegovih dramskih besedilih. Pojem gestusa teoretsko ločim od pojma fragmenta pri ruskih filmskih umetnikih in teoretikih. Drugi del magistrskega dela namenim obravnavi kasnejših interpretacij tega pojma, na primer pri Patriceu Pavisu, Augustu Boalu in Eugeniu Barbi. Zadnji del naloge namenim sodobnim primerom gledaliških praks, pri katerih je mogoče najti gestične prvine. To sta predstavi Babice kolektiva Igralke in Vse je v redu Nataše Živković.In my master thesis I discuss the meaning of gestus, the pioneered by Bertolt Brecht. Although in the history of theatre the concept of alienation was much more in the foreground, there were some theatre theorists that focused explicitly on gestus as method or theatre practice. In the first part of my master thesis I define gestus based on Brecht’s essays and writings, then I find this concept in his dramas. I differentiate gestus from the concept of fragment, established by Russian movie makers. In the second part of my thesis I discuss later interpretations of gestus established by Patrice Pavis, Augusto Boal and Eugenio Barba. The last part of my thesis is focused on contemporary examples of theatre methods and practices where it is possible to find gestus. I focus on the theatre performance Babice from the collective Igralke and Vse je v redu directed by Nataša Živković