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In questa pagina puoi ottenere un'analisi dettagliata di una parola o frase, prodotta utilizzando la migliore tecnologia di intelligenza artificiale fino ad oggi:
- come viene usata la parola
- frequenza di utilizzo
- è usato più spesso nel discorso orale o scritto
- opzioni di traduzione delle parole
- esempi di utilizzo (varie frasi con traduzione)
- etimologia
Cosa (chi) è estrangement$26041$ - definizione
PERFORMING ARTS CONCEPT
Defamiliarization Effect; Alienation Effect; Brechtian alienation; Defamiliarization effect; V-effekt; V-effect; V-Effect; V-Effekt; Verfremdungseffekt; Alienation-Effect; Aesthetic Distance; Verfremdung; Estrangement effect; Alienation effect; Distancing Effect; Alienating effect; A-effect; Alienation device
![Set design for a production of Brecht's ''[[Mother Courage and Her Children]]'', featuring a large scene-setting caption ''Polen'' ("Poland") above the stage](https://commons.wikimedia.org/wiki/Special:FilePath/Model of Stage Design for Mother Courage - Bert-Brecht-Haus - Augsburg - Germany.jpg?width=200 "Set design for a production of Brecht's ''[[Mother Courage and Her Children]]'', featuring a large scene-setting caption ''Polen'' (\"Poland\") above the stage")
estrange
WIKIMEDIA DISAMBIGUATION PAGE
Estranged; Estrange; Estranger; Estranges; Estrangement (disambiguation)
v. (D; tr.) to estrange from (estranged from his wife)
estrangement
WIKIMEDIA DISAMBIGUATION PAGE
Estranged; Estrange; Estranger; Estranges; Estrangement (disambiguation)
n. (an) estrangement between; from
Estranged
WIKIMEDIA DISAMBIGUATION PAGE
Estranged; Estrange; Estranger; Estranges; Estrangement (disambiguation)
·Impf & ·p.p. of Estrange.
Wikipedia
Distancing effect
The distancing effect, also translated as alienation effect (German: Verfremdungseffekt or V-Effekt), is a concept in performing arts credited to German playwright Bertolt Brecht.
Brecht first used the term in his essay "Alienation Effects in Chinese Acting" published in 1936, in which he described it as performing "in such a way that the audience was hindered from simply identifying itself with the characters in the play. Acceptance or rejection of their actions and utterances was meant to take place on a conscious plane, instead of, as hitherto, in the audience's subconscious".
