Live Like Pigs: performance conventions

Section: Understanding Performance Conventions

“Live Like Pigs” utilises non-naturalistic performance styles that resonate with Epic Theatre, moving beyond simple representation of reality to critically examine societal issues.
Actors engage in Verfremdungseffekt or the Brechtian Alienation Effect, refusing to encourage emotional identification with characters but instead advocating critical reflection on the play’s themes.
Instead of a grand dramatic climax, the play follows a fragmented narrative structure resembling a montage, jumping between moments and scenes, revealing the story through a collection of sharp-edged glimpses.

Section: Implementing Gestus

In line with Brecht’s techniques, actors often utilise Gestus, an illustrative gesture or a marked mannerism that reveals a social truth about the character, aiding in the conveyance of the socio-political commentary.
Characters exhibit exaggerated behaviours or Caricatures to emphasise the critique of their society, the caricatured portrayal revealing the absurdity of the class dynamics at play.

Section: Utilising Spass

The play taps into the power of Spass — a vital Brechtian tool that combines humour and shock to provoke critical thought.
This tool is particularly potent in Live Like Pigs as it juxtaposes the humorous interactions of the characters against the grim reality of their living conditions.

Section: Audience Interaction

Brechtian theatre encourages active audience participation and Live Like Pigs is no exception. There’s an intentional disruption of the ‘fourth wall’, nudging the audience to engage with the play critically.
Through Direct Address, characters often interact with the audience, narrate their feelings, or comment on the situation, establishing an intellectual dialogue and distancing effect.

Section: Use of Music and Songs

Songs and Ballads form an integral part of this play, threaded throughout the narrative to provide commentary, reveal characters’ emotions or indeed contribute to the social critique.
The usage of songs within the play follows the Brechtian idea of Song as Interruption - they do not move the story forward but instead break the narrative flow, forcing the audience to reflect on the themes being presented.