The aim of this paper is to study the position of music, how it was used and with which methods this served alien- ation within the historical process of epic theatre. Bertolt Brecht was the rst per-son to use the concept of “alien- ation” in theatre which he developed under the inspiration of eastern theatre. In establishing an obvious distance between the audience and the play with the Epic Theatre Theory, Brecht aimed for the play to be viewed with a
Epic theatre, Bertolt Brecht,
gestus, more critical a itude. This distancing is employed in epic theatre with the alienating e ect. In staging, alienation
is used in various ways including in the format of the play, in technical factors, in acting and by the audience. Mu- sic is one of the main elements that generate alienation. While this generated alienation, the variation of musical instruments and its in uence on the audience became recognized, and with Epic Theatre the use of music became a milestone in theatre. The language Brecht adopted in Epic Theatre was simple and aimed at the general public. According to Brecht, who targeted a wide audience, the music used must be able to function in the same way as language. In view of this, preference was given to the types of music that appealed to the entire audience, and folk songs that were easily understandable were frequently used. Orchestras and choirs were positioned on the stage where they were visible to the audience; during performances the stage would be e ectively illuminated. As if the music supported the text of the play with its structure that could compete with the text, this reminded viewers that they were in the theatre; the play was interpreted with the songs sung by the choir. In distancing the viewers from the atmosphere of illusion by interrupting the text with music, this triggered the desired process of critical thinking. In uencing the audience with music was avoided by giving preference to the interpretative talent of the cabaret and theatre actors.