The Visit: theatrical conventions of the period

Brechtilian Epic Theatre

Friedrich Dürrenmatt’s ‘The Visit’ employs conventions of Brechtilian Epic Theatre. There is deliberate alienation of the audience through devices such as direct address, harsh lighting and the use of songs, intended to refocus the audience’s attention on the play’s message rather than vicarious participation.
The stark changes in time and setting between scenes underline the non-naturalistic aspect of Brecht’s theatrical ideas, encouraging a broader socio-political reading of the text.

Absurdism

The play utilises elements of Absurdism, characterised by bizarre or irrational situations and meaningless actions. Claire’s inordinate wealth and the town’s exaggerated desperation encompass an absurdist aesthetic that aligns with the works of Beckett and Ionesco.
The absurdity in the play serves to underscore the moral and societal degradation inherent in the narrative, effectively heightening the tragic aspect of the intended tragicomedy.

Expressionism

Dürrenmatt utilises Expressionistic elements in ‘The Visit’, which are evidenced in the dramatisation of a nightmarish landscape mirrored by the psychologically warped characters within it.
The use of exaggerated scenery, such as Claire’s false leg and hand made of ivory, the blind eunuchs, and the coffin, reflects the internal emotional state of the characters and helps create a dystopian environment in Gullen.

Physical Theatre

‘The Visit’ also utilises Physical Theatre, using physical movement and non-verbal communication as a primary source of storytelling. This is seen in the dramatic and exaggerated gestures or props, such as the use of clapped out shoes, and the black panther which accompanies Claire.
The use of physical theatre strengthens the visual impact on stage, and subsequently, highlights the key themes and critiques in a more visual manner.