Abstract

In 1935 in Moscow, Mei Lanfang famously showed Brecht (and others) some gestures of classic Chinese theatre. This, Brecht said, was the source of his theory of "alienation." Was it ethnocentric for Brecht to assume that the feeling of strangeness he experienced watching Mei Lanfang was intended by Mei? Can one talk about the Verfremsdungeffkt at all without generalizing from audience response to artist intention, or from artist intention to audience response?

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Additional Information

ISSN
1531-4715
Print ISSN
1054-2043
Pages
pp. 121-132
Launched on MUSE
2007-12-03
Open Access
No
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