Editing Distancing effect (section)

== Distancing effects in non-Brechtian performances ==
Brecht's idea of distancing effects has garnered academic interest from a number of researchers in various non-Brechtian performances. Although the term "distancing effect" was first coined by Brecht, the concept has appeared before his usage. Among some notable studies on distancing effects in non-Brechtian performances are: [[Ta'zieh|Ta'ziyeh]] (Shi'ite ritualistic passion play) (Mohd Nasir et al., 2020),<ref>{{cite journal |last1=Hashim |first1=Mohd Nasir |last2=Alizadeh |first2=Farideh |title=A comparative study: The principles of the distancing effect in Brechtian theater and Ta'ziyeh |journal=Cogent Arts & Humanities |date=1 January 2020 |volume=7 |issue=1 |pages=1790195 |doi=10.1080/23311983.2020.1790195 |doi-access=free }}</ref> [[Marathi theatre]] (Mujumdar, 2013),<ref name="Mujumdar">{{cite journal |last1=Mujumdar |first1=Smita |title=Bertolt Brecht's concept of 'epic-drama' and alienation theory and 'Tamasha art' in Marathi theatre: A comparative study |journal=Lapis Lazuli |volume=3 |year=2013 |pages=1–13 |url=https://pintersociety.com/wp-content/uploads/2013/07/Smita-Mujumdar-9.pdf }}</ref> [[Saang|Swang theatre]] (ancient Indian folk theatre) (Sharma & Kashyap, 2018),<ref>{{cite journal |last1=Sharma |first1=Sandhya |last2=Kashyap |first2=Satish |title=Comparative Study of Performance: Swang and Bretolt Brecht's Epic Theatre and Verfremdungseffekt |journal=Indian Journal of Health and Wellbeing |date=1 July 2018 |volume=9 |issue=7 |pages=934–936 |url=http://www.i-scholar.in/index.php/ijhw/article/view/181079 }}</ref> [[Beat Generation|beat poetry]] (Rissover, 2009),<ref>{{cite journal |last1=Rissover |first1=Fredric |title=Beat poetry, the American dream , and the alienation effect |journal=The Speech Teacher |date=January 1971 |volume=20 |issue=1 |pages=36–43 |doi=10.1080/03634527109377854 }}</ref> [[Likay]] (Thai folk theatre) (Tungtang, 2015),<ref>{{Cite journal|last=Paradee Tungtang|date=May–August 2015|title="Yes,we fully realize that we're watching a play.we just don't realize that lt's brecht.": An analysis of brecht's v-effect technique used in thai likay theatre|url=https://searchlib.utcc.ac.th/bib/259952|journal=มนุษยศาสตร์สังคมศาสตร์}}</ref> and [[Quran|Quranic narratives]] (Dina, 2014).<ref>{{cite journal |last1=Amin |first1=Dina |last2=أمين |first2=دينا |title=Bā Kathīr's "Hārūt wa-Mārūt": Can the Qur'an Have an Alienating Effect? / هاروت وماروت" لعلي باكثير: أيكون القران اداة تباعدية؟" |journal=Journal of Qur'anic Studies |date=2014 |volume=16 |issue=3 |pages=157–173 |doi=10.3366/jqs.2014.0171 |jstor=24280431 }}</ref>

Rissover's paper discusses the integration of twenty poems (which were either excerpted or taken as whole) by nine Beat poets into the performance of [[Edward Albee]]'s ''[[The American Dream (play)|The American Dream]]''. While Rissover does not exclusively consider distancing effects of Beat Poetry as a poetry performance, the paper still demonstrates how beat poetry is able to project distancing effects to the audience.

Additionally, Mujumdar's paper (2013) examined the elements of [[Epic theatre|epic drama]] (which includes distancing effects) in [[Tamasha]], a traditional form of Marathi theatre. Mujumdar argues that distancing effects have already been present in Tamasha; albeit the concept itself has yet been conceptualized or coined during the 18th century (i.e. the time whereby Tamasha was considered as the popular folk arts). Through songs, narratives, dances, music, and commentaries that are embedded within Tamasha, the audience is said to be unconsciously performing a social role and achieving the distancing effects advocated by Brecht.<ref name="Mujumdar" />

Furthermore, Paradee's (2015) article emphasized that the extensive use of the ''Verfremdungseffekt'' (the V-effect) or "alienation effect" can be found commonly in Thai [[Likay]] theatre. Even though Likay is performed in a way which could be perceived as evoking Brecht's alienation effect, Brechtian acting troupes and Thai Likay troupes approaches are distinctly different. While the goal for Brecht's alienation effect in the western theatre is to make the audience always aware that they are watching a play, and not being "taken out of themselves" and thus not being distracted from the main meaning of the story, Thai Likay aims to do otherwise.