Hello and welcome to today's English lesson.

Thank you for joining me.

My name's Mrs. Butterworth, and I will be guiding you through the learning today.

Now we are diving even deeper into "An Inspector Calls" today, and we'll be thinking about the play in relation to two different types of theatre, Brechtian theatre and socialist realism.

Now this is something I find incredibly interesting and I hope you do too.

So let's get started.

So in this lesson, you'll be able to explain how "An Inspector Calls" could be considered as both Brechtian theatre and socialist realism.

Now before we delve into today's lesson, let's look at some keywords that you should be able to spot throughout the lesson.

Now these words are alienation, catharsis, fourth wall, episodic, and theatricality.

Now, alienation in terms of this lesson is actually a technique to make the audience critically aware of the play's social or political issues.

So as we come to explore Brechtian theatre, alienation will become a really key concept.

We also have this idea of catharsis.

And catharsis is that emotional release experienced by an audience, and it's often through pity or fear, so that emotional catharsis.

We've got this concept of the fourth wall.

Now the fourth wall is like the imaginary barrier between the actors and the audience in a performance.

So if somebody breaks the fourth wall in a film or a piece of theatre, they acknowledge the audience, they look at it.

If they're not breaking the fourth wall, then it's like you are looking in on them, that there's a wall between you, the audience, and what's the action that's happening.

We also get this word episodic, and this is a narrative structure where the story unfolds through a series of distinct episodes or scenes.

And then finally, theatricality, and theatricality is the idea of using dramatic elements that highlight the artifice and performance in theatre.

So theatricality is usually referenced when things are quite over the top or obviously being acted.

So the outline of our lesson looks like this.

We're going to begin looking at Brechtian techniques and epic theatre before moving on to socialist realism and thinking about this in line with the play's Russian debut.

So let's begin.

So, Bertolt Brecht is a very important figure in political theatre.

Now he was a German playwright, poet, and famous theatre director.

He was influenced by Marxism.

So those ideas of communism and all of those Marxist values.

And he believed that theatre should educate the working class about social and political issues.

So his theatre wasn't just about entertainment, it was about education and really focused on political ideas.

And he also thought and believed that political theatre should provoke critical thought.

So it shouldn't be about being emotionally immersed or aligning with any of the characters.

It's more about critically thinking and engaging with what's happening on the stage in relation to the world around you.

And arguably, "An Inspector Calls" shares Brecht's socialist values and goal of political change.

So we're gonna be thinking about those ideas today as we interrogate the play further.

Now, epic theatre is the genre that Brecht himself developed and used to apply his ideas about political theatre.

And what that means is the following.

So it's a form of theatre that contrasts sharply with naturalism.

So whereas naturalism was all about depicting real life as naturally as possible, epic theatre and Brechtian theatre is the complete opposite of that.

Now one of the key conventions in this is alienation, or this very long word, "verfremdungseffekt." Okay? So we'll refer to it as alienation, but we can say the full word, which is verfremdungseffekt.

Now this is also known as the distancing effect, and this might start to give you some ideas of what this does.

Because what that distancing effect or alienation does is it makes the audience aware they are watching a play, and it really emphasises its theatricality.

So you can see how that contrasts with naturalism.

Naturalism wants to look as real as possible, whereas epic theatre and Brechtian theatre, it's all about that theatricality to actually create that distance between the audience and the stage.

It offers no emotional catharsis, so encourages the audience to think critically about the issues, rather than becoming emotionally involved.

And I think this is key as well, when we're thinking about "An Inspector Calls." It is quite didactic in tone and language use.

So it's almost telling the audience what it should be thinking about because its aim is to teach about social and political issues.

Now let's break it down even further.

So specific Brechtian techniques used in epic theatre include episodic structure.

So very often, the plays are divided into separate reflective scenes as opposed to one long narrative.

Uses a lot of direct address.

So the characters will actually speak directly to the audience, which in turn, breaks that fourth wall.

So the direct address and breaking the fourth wall acknowledges the audience and really disrupts that immersion.

So it doesn't allow the audience to be passive, okay? If you are being spoken to directly, you can only sit up and really concentrate, and listen to what is being said.

Narrative disruption.

So, Brechtian theatre and epic theatre interrupts traditional storytelling to prompt reflection.

So again, it doesn't want the audience to be passive and immersed in this long story or narrative, so it will disrupt that.

Basically, to make sure that the audience is listening.

And the characters as symbols.

So actually, the characters come to represent social ideas, not real people.

Now, arguably, and this is important to note, Priestley wasn't a strict Brechtian, and "An Inspector Calls" isn't strictly epic theatre or Brechtian theatre, but it can be argued.

And it's interesting to argue that he used similar techniques to interrogate his themes.

Now I'd like you to think now and to discuss the following, what specific examples from "An Inspector Calls" conform to the conventions of epic theatre and Brechtian techniques? So you'll need to pause the video to give yourself time to discuss these, the question.

If you're working on your own, you may wish to sit and think quietly or even jot some ideas down.

Get ready to pause the video, and off you go.

Great.

Thank you for your suggestions.

And I'm really impressed that so many of you are already linking those ideas to "An Inspector Calls." So let's just feed back some of those ideas.

And you may have discussed some of the following.

So you may have argued that the play is episodic, maybe, and how it focuses on each character's narrative.

And this is framed through the inspector's interrogation.

So although there's kind of one story, it is quite episodic.

We hear from each character.

That idea of the inspector's final speech, that use of the repetition of we really acts as direct address, we could argue, and it could also be performed to break the fourth wall.

So in some productions, the inspector actually looks out to the audience, very Brechtian, and speaks directly to the audience, breaking that fourth wall.

Yes, as I said, very Brechtian.

And it could also be argued that the play offers no emotional catharsis.

And this might be through the narrative disruption that the inspector may not be real in Act 3.

So again, in Act 3, there's almost this unbelievable element where we're questioning the inspector's existence even, which, again, creates that critical and emotional distance.

And then finally, the characters can be interpreted as symbols of key themes.

So I'm sure you are thinking of specific characters now.

So we could think about things as social responsibility, class inequality, and moral corruption.

And some of those characters in "Inspector Calls" really come to embody those ideas.

Okay, so it's over to you now to answer the following questions.

So you'll need to pick A, B, C, or D.

Which of the following would not be considered a Brechtian technique? Pause the video to come up with your answer.

Okay, who's feeling confident? Okay, lots of you.

Great.

So well done to everyone that said B, emotional realism.

Because remember, Brechtian theatre and epic theatre is all about showing that theatricality and avoiding emotional realism.

Now we're going to think a bit about Stephen Daldry's production of "An Inspector Calls," because this has actually been described by many critics as Brechtian.

It is a fantastic production.

So if you do get the chance to see it, I highly recommend it or even watch a few clips because it's a really, really great production.

So, both Daldry and the set designer, Ian MacNeil, acknowledge a conscious choice in emphasising the production's theatricality.

So there are some conscious decisions being made by both Daldry the director and the designer in exposing the play's theatricality.

And this directly links to the Brecht idea of verfremdungseffekt or alienation.

Now I'm going to describe some of those examples for you, but like I said, you may want to look up some images or some clips just to give yourself a better idea.

But examples include, the Birlings' elevated and collapsing house emphasising the lack of realism.

So there's this house on stage, it almost looks like a doll's house, but bigger.

And it's high above the action.

And as the play progresses, it actually starts to collapse.

The inspector at the end directly addresses the audience.

In Act 3, the inspector shouts stop.

So there's a moment in this play where he shouts stop, and actually, the whole theatre is illuminated.

So the audience is almost put under spotlights, a bit like they're under interrogation themselves.

And this really breaks the fourth wall, which is a really interesting theatrical choice, isn't it? For the inspector to address the audience, you can almost imagine it, can't you? The audience lights come up and it's almost like the audience are being interrogated themselves.

And Daldry uses additional characters such as a group of 1940s people and a small boy who actually interact with the set.

So they're not acting, but they interact with the set.

And again, this really foregrounds its artificiality, because we are reminded of when the play was written, but also when it was set.

Okay, so I'd like you to discuss now, how might Daldry's use of Brechtian techniques and alienation encourage the audience to engage with the past while thinking critically about the present? So I'm just going to repeat that question again.

How might Daldry's use of Brechtian techniques and alienation encourage the audience to engage with the past while thinking critically about the present? Okay, so it's over to you now.

We'll need to pause the video to discuss your ideas, think quietly to yourself, or even write down some ideas.

Pause the video.

Okay, thank you for some really interesting ideas.

We're now going to have a look at how one of our Oak pupils, Jun, answered.

So let's look at that.

So Jun said, "Daldry's use of alienation encourages the audience to reflect on social issues without emotional immersion.

By revealing the production's theatricality, he distances the audience from both the play's 1945 creation and its 1912 setting.

And this prompts viewers to consider how themes of inequality, class, and social responsibility remain relevant today." That's a really good answer from Jun, isn't it? And I think that's a really interesting point, that by having it as the 1912 setting, acknowledging that 1945 production, and then, but also acknowledging that it is also happening in the present as the audience is watching it.

And I think that's a really interesting point there from Jun.

So, discuss, to what extent do you agree? Pause the video and off you go.

Okay, true or false time.

Okay, so true or false, Daldry's production can be considered Brechtian in how it encourages an emotional response from the audience.

Pause the video and come up with true or false.

Well done to everyone who said that is false.

But now you need to say why that is false.

Pause the video to give yourself time to come up with an answer.

Okay, I'm going to share an answer with you, and hopefully you have something similar.

So this statement is false because Brechtian theatre aims to prevent emotional immersion.

So it doesn't want an emotional response from the audience.

it wants a critical, thoughtful response.

Now, arguably, Daldry's use of alienation techniques encourages critical reflection, not empathy.

Okay, so we have reached our first practise task, and what I would like you to do is I would like you to answer the following question, please.

So here's the statement.

"An Inspector Calls" can be considered Brechtian in its approach to engaging the audience intellectually rather than emotionally.

To what extent do you agree? Okay, so that's your question.

You should make sure that you identify examples of Brechtian techniques in the play.

So think about all of those techniques we have looked at.

Explain the impact on the audience, and consider Daldry's choices to include Brechtian techniques and how they reflect Priestley's themes and ideas.

Okay? So draw on your discussions and your ideas from the lesson so far.

And when you are ready, pause the video and get on with your response.

Off you go.

Okay, thank you, everyone.

I can almost hear the hard work happening.

So, well done.

So we're just going to look at part of Alex's response.

So this isn't his whole response, we're just going to look at a small part.

Let's have a look.

So we'll read it through together first and then see how he has hit that success criteria.

So, Alex has said, "Arguably, Priestley's use of Brechtian techniques can be seen in the inspector's final speech, where the repetition of we can be seen as direct address and didactic in tone.

Daldry reinforces this by illuminating the theatre and breaking the fourth wall, forcing viewers to confront their own role in social responsibility.

This aligns with Priestley's political agenda, making the audience think critically rather than react emotionally.

So we can see that Alex has identified an example of a Brechtian technique.

He has explained the impact on the audience, so you can see how he has weaved that through his response there.

And then finally, in his second paragraph, he's considered Daldry's choices.

And I think that's a really lovely way to connect to his first point.

So a really good response, or part of a response from Alex.

So I'd like you now to spend a few moments just self-assessing your work.

So make sure that you have identified examples of Brechtian techniques, explained the impact on the audience, and consider Daldry's choices to include Brechtian techniques and how they reflect Priestley's themes and ideas.

So you may just want to read through your work and even tick where you have met those.

Pause the video to give yourself time to do this.

Off you go.

Okay, great work, everyone.

Let's keep it up because we are moving on to the second part of our lesson.

So in this part, we are going to be thinking about socialist realism and the play's Russian debut.

So what was socialist realism? Well, socialist realism was the official art movement of the Soviet Union, and it was all about promoting socialist ideals.

Now, conventions included a positive depiction of the working class, foregrounding their struggles and heroism.

There was an optimistic outlook portrayed, and it really focused on this idealised future free from oppression.

So you can see how it starts to line with those political and socialist ideals.

There was moral clarity in clear divisions between good, the working class, and evil capitalism.

So it made those distinctions really clear.

And there were this ideas of heroic figures.

So characters that represent the ideals of socialism, often struggling for justice.

So again, this idea that the characters are kind of symbolic of bigger ideas.

So again, to some extent, we can think about "An Inspector Calls" in relation to this theatrical tradition because it does conform to the conventions of social realism in supporting Priestley's political agenda.

So let's think about how.

So there's definitely that focus on class struggle.

So, Priestley critiques capitalist exploitation, particularly through Eva Smith's treatment and showcases the suffering of the working class.

If we think about it, Inspector Goole perhaps is a socialist hero.

He is a less realistic character and more of a symbolic figure, arguably.

And he could represent this idea of justice and moral authority.

So this is much like the heroic figures in socialist realism.

And again, there's this moral clarity, isn't there, in the Birlings as the villains, arguably, capitalism, and the inspector as good, social responsibility.

So we can see that, potentially, this is what Priestley is trying to do.

Set up this moral character.

Birlings as the villains who represent capitalism and the inspector is good who represents social responsibility.

Okay, question time for you.

So, A, B, C, or D, which of the following would not, so you are looking for not, be considered a convention of socialist realism? Pause the video and come up with your answer now.

Okay, well done to everyone that picked C, ambiguous endings that encourage multiple interpretations.

This would not be considered a convention of socialist realism because, actually, it has a really clear message and it wouldn't want that to get lost.

So, "An Inspector Calls" was first performed in Leningrad and Moscow before being staged in London.

And the Soviet Union really praised the play for its critique of capitalism, as it fit in their anti-capitalist and class struggle narrative.

Now it's important to acknowledge that while Priestley sympathised with socialist ideals, he was critical of Stalin's authoritarian regime.

So we have to acknowledge that in terms of his political stance.

So if we think of "An Inspector Calls" as a political manifesto or even socialist propaganda, the conventions of socialist realism may seem relevant.

However, we could also look at it this way that, arguably, Priestley's rejection of its optimism and idealism reflects a criticism of Stalin's authoritarian regime.

So there is this tension here between showing this idea of socialism as good and capitalism as bad, but it doesn't offer this utopian optimistic idea that Stalin's authoritarian regime would offer, or that socialist realism would offer.

So, Priestley rejects the optimism of socialist realism because he portrays a more nuanced view of society, where change is uncertain.

So he urges critical reflection rather than idealistic resolution.

And I think that's what makes this interesting.

It's much more nuanced.

Priestley isn't saying that this is how change is happening, this is what the world is going to look like.

He offers more critical reflection.

He asks more of the audience.

Okay, so over to you to start consolidating some of those ideas.

How do you think "An Inspector Calls" fits into the framework of socialist realism, especially given Priestley's own complex political stance? So I'm gonna repeat that question again.

How do you think "An Inspector Calls" fits into the framework of socialist realism, especially given Priestley's own complex political stance? Okay.

Get ready to begin discussing.

If you're working on your own, you can think quietly to yourself or even jot down some ideas.

Pause the video and off you go.

Okay, thank you, everyone.

That was a tricky question.

So we did really well in tackling the ideas there and thinking about "An Inspector Calls." So we have two of our Oak pupils here.

We have Laura and Jacob.

Let's see how they answered.

So, Laura says, "The play aligns with socialist realism in its critique of class inequality and exploitation.

The inspector acts as a moral figure, urging with social responsibility, but Priestley's rejection of idealism challenges the overly optimistic tone typical of Soviet theatre." It's a really great answer from Laura there, really considering both ideas there.

And then Jacob says, "While the play highlights social issues like class and capitalism, Priestley avoids the utopian resolution seen in socialist realism.

His portrayal of an imperfect society encourages the audience to reflect critically, rather than providing a simple solution." So again, Jacob really picking up on that critical reflection that "An Inspector Calls" may be requiring of the audience.

So I'd like you to discuss now, to what extent do you agree with Laura and Jacob? Pause the video to get discussing.

Okay, so true or false? When it was performed, the Soviet Union praised Priestley's critique of capitalism and class struggles.

Pause the video to decide whether that statement is true or false.

Are we ready for an answer? Okay, well done to everyone that noticed that was true, but you now need to say why.

So pause the video to explain your answer.

Okay, let's share an answer.

Hopefully, you have something along the same lines.

So why is that statement true, is because "An Inspector Calls" was celebrated as it fit the anti-capitalist and class struggle narrative of Soviet Russia.

However, Priestley was critical of Stalin's authoritarian regime.

Okay, well done, everyone.

We have now reached our second practise task, and this is going to ask you to write a response to the following question.

So let's read that question together.

How do Priestley's theatrical techniques draw on socialist realism to reinforce his political agenda, and in what ways do they also challenge or complicate the play's political message? So I'm gonna read that question through again.

So be thinking about it as we read it through again.

How do Priestley's theatrical techniques draw on socialist realism to reinforce his political agenda, and in what ways do they also challenge or complicate the play's political message? So in order to answer this question, you will need to do the following, identify theatrical techniques Priestley uses that align with socialist realism and analyse how they contribute to the play's political message.

You will need to examine how Priestley challenges or complicates socialist realism, particularly through his rejection of optimism and idealism.

And then finally, evaluate how these techniques reinforce or subvert Priestley's political agenda.

So considering both their effectiveness in critiquing capitalism and their potential limitations.

So there is lots to think about there, but just remember everything that we have discussed and looked at throughout this learning cycle.

You have already done some excellent work on this.

It's just about writing it up.

I know you can do it.

So make sure you've got everything you need to complete the task, and pause the video and get answering.

Well done, everyone.

That was a tricky question and lots to think about, and you've done really well thinking about all of those different ideas.

So let's just look at part of Sam's answer.

So Sam has said, "In 'An Inspector Calls,' Priestley's moral clarity in the contrast between the Birlings and Eva Smith align with the conventions of socialist realism.

These elements reinforce his political agenda by exposing capitalist exploitation and advocating for social responsibility.

However, Priestley also complicates socialist realism by rejecting its optimism.

His ending offers no clear resolution, leaving the audience to grapple with the uncertainty of real change." So really excellent response from Sam.

So I would like you to discuss, please, what could Sam do next? Okay, so read through the answer again and think about what Sam could do next.

Pause the video to come up with your answer.

Okay, thank you, everyone.

So you may have discussed the following ideas.

So, Sam could offer specific quotations from the text to demonstrate how Priestley's use of theatrical techniques reinforce or challenge socialist realism.

So, Sam hasn't actually put any quotations in yet.

She might be going on to do that.

So what she could also think about is she could consider how Priestley arguably not only critiques capitalism, but also introduces ambiguity, preventing a simplistic, utopian resolution.

She could also evaluate whether the play's alignment with socialist realism strengthens or limits its political message.

Now she could also consider, so she could get some context in, consider how the play's reception in Soviet Russia reflects its socialist themes while acknowledging Priestley's more complex stance on socialism.

So there's lots that Sam could include to keep developing this response.

I would like you now to self-assess your own work.

So read through your response and check, have you identified those theatrical techniques that Priestley uses, the ones that align with socialist realism? And have you analysed how they contribute to the play's political message? Have you examined how Priestley challenges or complicate socialist realism, particularly through his rejection of optimism and idealism? And finally, have you evaluated how these techniques reinforce or subvert Priestley's political agenda, considering both their effectiveness in critiquing capitalism and their potential limitations? Lots to think about.

Read through your work, maybe even give yourself a tick where you have done those things, and pause the video to get that done.

Okay, well done, everyone.

We have reached the end of the lesson and you have done some brilliant work.

There are some really complex ideas there, but you have really risen to the challenge, which is great, and I find the theatrical tradition's really interesting in interrogating Priestley's choices.

So we have looked at how "An Inspector Calls" uses Brechtian techniques like alienation to provoke critical thought, that all important critical thought from the audience.

We know that Brechtian techniques and epic theatre contrasts with naturalism.

And again, urging that intellectual engagement, rather than that emotional immersion or passive watching.

The play critiques class and inequality, aligning with Brechtian and socialist realism themes of social justice.

And Priestley's inspector is a symbolic figure of moral authority, resembling socialist realism heroes.

And arguably, Priestley critiques both capitalism and the idealism of socialist realism, avoiding utopian solutions.

Phew, we have done so much.

And again, a very well done.

I look forward to seeing you soon in another English lesson.

Until then, goodbye.