A Radical Separation of the Elements: The Distanciation of the Reader in Ulysses

Abstract

In the programme notes to Mahagonny, Brecht defines epic theatre as involving a radical separation of its elements and distinguishes three such elements in opera: the music, the text and the setting. He states his opposition to any integration of elements as follows:

So long as the expression ‘Gesantkunstwerk’ (or ‘integrated work of art’) means that the integration is a muddle, so long as the arts are supposed to be ‘fused’ together, the various elements will all be equally degraded, and each will act as a mere ‘feed’ to the rest. The process of fusion extends to the spectator, who gets thrown into the melting pot too and becomes a passive (suffering) part of the total work of art. Witchcraft of this sort must of course be fought against. Whatever is intended to produce hypnosis, is likely to induce sordid intoxication, or creates fog, has got to be given up. (Brecht 1964, p. 37).