During his period of exile in Scandinavia, Bertolt Brecht wrote “I don’t think the traditional form of theatre means anything any longer. Its significance is purely historic; it can illuminate the way in which earlier ages regarded human relationships […] [but] a modern spectator can’t learn anything from themz” (Brecht in Brecht on theatre: the development of an aesthetic. Trans. John Willett., Eyre Methuen Publishing, London, p. 66, 1964). To create a modern theatre fit for a modern audience, Brecht holds that not only would the content of plays have to change, but the experience of theatrical spectatorship itself. To fully capture how Brecht’s work differs from that of previous playwrights, a close analysis of spectatorial experience and perception is required. In this paper, I compare the aesthetic techniques used in Brecht’s epic theatre to the genetic phenomenology of Edmund Husserl. Reading Brecht’s Verfremdungseffekt (or estrangement effect) through a Husserlian lens, I argue that Brecht mobilizes phenomenological methodology in order to suspend the audience’s preconceived notions of theatre and to cultivate self-conscious, critically aware, and socially motivated spectatorship. Just as Husserl describes phenomenology as a presuppositionless science, so too does Brecht offer epic theatre as a way to free “[…] socially-conditioned phenomena from the stamp of familiarity” (Brecht 1964, p. 192).

中文翻译：

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疏远、时代和表演：贝托尔特·布莱希特的 Verfremdungseffekt 和旁观现象学

在斯堪的纳维亚流亡期间，贝托尔特·布莱希特写道：“我认为传统的戏剧形式不再具有任何意义。它的意义纯粹是历史性的；它可以阐明早期时代看待人际关系的方式 [...] [但是] 现代观众无法从他们身上学到任何东西”（布莱希特在布莱希特关于戏剧：审美的发展。译约翰威利特，艾尔梅休恩出版，伦敦，第 66 页，1964 年）。为了创造适合现代观众的现代剧院，布莱希特认为，不仅戏剧的内容必须改变，戏剧观众本身的体验也必须改变。为了充分捕捉布莱希特的作品与以前剧作家的作品有何不同，需要对观众体验和感知进行仔细分析。在本文中，我将布莱希特史诗剧中使用的美学技巧与埃德蒙·胡塞尔的遗传现象学进行了比较。通过胡塞尔的视角阅读布莱希特的 Verfremdungseffekt（或疏远效应），我认为布莱希特动员了现象学方法论，以暂停观众对戏剧的先入为主的观念，并培养自我意识、批判意识和社会动机的观众。正如胡塞尔将现象学描述为一门没有预设的科学一样，布莱希特也提供史诗戏剧作为一种方式，将“[……] 社会条件下的现象从熟悉的印记中解放出来”（Brecht 1964, p. 192）。我认为布莱希特运用现象学方法论是为了中止观众对戏剧的先入为主的观念，培养自觉的、批判性的、有社会动机的观众。正如胡塞尔将现象学描述为一门没有预设的科学一样，布莱希特也提供史诗戏剧作为一种方式，将“[……] 社会条件下的现象从熟悉的印记中解放出来”（Brecht 1964, p. 192）。我认为布莱希特运用现象学方法论是为了中止观众对戏剧的先入为主的观念，培养自觉的、批判性的、有社会动机的观众。正如胡塞尔将现象学描述为一门没有预设的科学一样，布莱希特也提供史诗戏剧作为一种方式，将“[……] 社会条件下的现象从熟悉的印记中解放出来”（Brecht 1964, p. 192）。