. . . . . . . "Der Verfremdungseffekt (V-Effekt) ist ein literarisches Stilmittel und Hauptbestandteil des epischen Theaters nach Bertolt Brecht. Eine Handlung wird durch Kommentare oder Lieder so unterbrochen, dass beim Zuschauer jegliche Illusionen zerst\u00F6rt werden. So kann er der Theorie zufolge eine kritische Distanz zum Dargestellten einnehmen. Der Verfremdungseffekt besteht im Kern darin, dem Betrachter vertraute Dinge in einem neuen Licht erscheinen zu lassen und so Widerspr\u00FCche in der Realit\u00E4t sichtbar zu machen und eine kritischere und bewusstere Wahrnehmung des Gezeigten zu erm\u00F6glichen."@de . . . . "15010"^^ . . "Straniamento"@it . . . "V-Effekt ou efeito V (do alem\u00E3o Verfremdungseffekt) \u00E9 uma elabora\u00E7\u00E3o art\u00EDstica do dramaturgo e diretor alem\u00E3o Bertolt Brecht. Pode ser traduzido como \"efeito de estranhamento\" ou \"efeito de distanciamento\" por\u00E9m, h\u00E1 outras maneiras de se traduzir a palavra, como: \"efeito de desilus\u00E3o\". O efeito de estranhamento foi pr\u00E1tica comum no teatro do in\u00EDcio do s\u00E9culo XX na R\u00FAssia e na Alemanha, principalmente entre os encenadores Erwin Piscator e Meierhold, assim como nas representa\u00E7\u00F5es do agit-prop sovi\u00E9tico. Este conceito se torna conhecido mundialmente a partir dos trabalhos te\u00F3ricos de Bertolt Brecht, seu objetivo \u00E9 tornar claro ao espectador que ele est\u00E1 frente a uma obra de arte, de que a representa\u00E7\u00E3o teatral \u00E9 uma ilus\u00E3o. Diversos artif\u00EDcios na encena\u00E7\u00E3o ou na interpreta\u00E7\u00E3o devem colocar o espectador dentro desta possibilidade. A encena\u00E7\u00E3o teatral baseada no efeito V deve lembrar ao espectador que ele sempre est\u00E1 no teatro, diferentemente das propostas art\u00EDsticas de cunho naturalista que objetivam transformar a a\u00E7\u00E3o vivida no palco ou na arte num lugar onde o espectador esteja frente a uma \"suposta\" realidade. Bertolt Brecht lembra que o v-effekt pode ser encontrado nas trag\u00E9dias gregas, no teatro chin\u00EAs e mesmo no dada\u00EDsmo, onde o admirador da obra de arte pode se deparar com coisas e situa\u00E7\u00F5es estranhas, n\u00E3o habituais."@pt . . "Verfremdungseffekt (en alem\u00E1n: \u2018efecto de extra\u00F1amiento\u2019; \u00ABefecto de distanciamiento\u00BB) es una forma de teatro creada por Bertolt Brecht que consiste en que la obra se centra en las ideas y decisiones, y no en intentar sumergir al p\u00FAblico en un mundo ilusorio, para as\u00ED evitar la catarsis. Se relaciona con el Epischestheater (Teatro \u00E9pico) de Brecht."@es . . . . . "\u95F4\u79BB\u6548\u679C"@zh . . . . . "V-Effekt ou efeito V (do alem\u00E3o Verfremdungseffekt) \u00E9 uma elabora\u00E7\u00E3o art\u00EDstica do dramaturgo e diretor alem\u00E3o Bertolt Brecht. Pode ser traduzido como \"efeito de estranhamento\" ou \"efeito de distanciamento\" por\u00E9m, h\u00E1 outras maneiras de se traduzir a palavra, como: \"efeito de desilus\u00E3o\". Bertolt Brecht lembra que o v-effekt pode ser encontrado nas trag\u00E9dias gregas, no teatro chin\u00EAs e mesmo no dada\u00EDsmo, onde o admirador da obra de arte pode se deparar com coisas e situa\u00E7\u00F5es estranhas, n\u00E3o habituais."@pt . . . . . . . . "V-effekt"@pt . . . . "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\"."@en . . . . . . "1120901065"^^ . . . . . . "Lo straniamento \u00E8 un artificio letterario che ha lo scopo di far uscire il lettore \"dall'automatismo della percezione\". Il termine fu introdotto dal teorico della letteratura Viktor Borisovi\u010D \u0160klovskij nel 1916. Per straniamento si intende, in campo artistico l'effetto generato da quei procedimenti che permettono di \"deautomatizzare\" la percezione, inducendo nel fruitore un'impressione viva e insolita di un determinato contenuto. Il termine fu coniato nel 1917 dal critico formalista e scrittore russo Viktor Borisovi\u010D \u0160klovskij nel saggio \u201CL\u2019arte come procedimento\u201D (ora in Teoria della prosa).\u0160klovskij era parte di uno dei pi\u00F9 importanti circoli intellettuali dell'epoca, l'OPOJAZ, (societ\u00E0 per lo studio del linguaggio poetico), di cui facevano parte importanti letterati, linguisti e poeti. L'OPOJAZ, circolo attivo tra il 1915 e il 1926 fu fondamentale per la teoria della letteratura e in particolare per aver generato la scuola del cosiddetto formalismo russo. Secondo \u0160klovskij il linguaggio poetico si differenzia da quello impiegato nella vita quotidiana in quanto non \u00E8 soggetto a scopi pratici, strumentali. Di conseguenza, in un'opera artistica, l'attenzione del fruitore \u00E8 richiamata sul linguaggio stesso. Per generare un effetto di straniamento \u00E8 dunque necessario che il linguaggio sia percepito come immediatamente diverso da quello comune; in accordo con il precetto di Aristotele secondo cui \"Il linguaggio poetico deve apparire strano e meraviglioso\". Lo straniamento deve favorire \u201Cl\u2019impressione dell\u2019oggetto come \u00ABvisione\u00BB e non come \u00ABriconoscimento\u00BB\". Ci\u00F2 fa s\u00EC che il processo di fruizione dell'opera d'arte si presenti tipicamente come \"difficile\" e prolungato. Il concetto ebbe una enorme influenza durante tutto il XX secolo in ogni ambito della produzione artistica."@it . "\u95F4\u79BB\u6548\u679C\uFF08\u82F1\u8A9E\uFF1ADistancing effect\uFF1B\u5FB7\u8A9E\uFF1AVerfremdungseffekt\uFF09\uFF0C\u53C8\u79F0\u964C\u751F\u5316\u6548\u679C\u3001\u758F\u96E2\uFF0C\u662F\u5FB7\u56FD\u620F\u5267\u7406\u8BBA\u5BB6\u3001\u5287\u4F5C\u5BB6\u5E03\u83B1\u5E0C\u7279\u6240\u63D0\u51FA\u7684\u620F\u5267\u8868\u6F14\u7406\u8BBA\uFF0C\u662F\u6307\u5C06\u89C2\u4F17\u758F\u8FDC\u4E8E\u620F\u5267\u6216\u7535\u5F71\uFF0C\u8FD9\u88AB\u5E03\u83B1\u5E0C\u7279\u79F0\u4E3A\u6558\u4E8B\u8A69\u5287\u5834\uFF08\u5FB7\u8A9E\uFF1AEpisches Theater\uFF09\u3002\u5E03\u83B1\u5E0C\u7279\u8A8D\u70BA\u6232\u5287\u61C9\u70BA\u653F\u6CBB\u670D\u52D9\uFF1B\u89C0\u773E\u5C0D\u821E\u53F0\u4E0A\u7684\u6232\u5287\u6295\u5C04\u60C5\u611F\u6703\u59A8\u7919\u89C0\u773E\u7684\u51B7\u975C\u5224\u65B7\u3002\u5728\u5287\u672C\u7684\u5275\u4F5C\u4E0A\uFF0C\u4ED6\u591A\u4EE5\u7570\u570B\u7684\u3001\u6A21\u7CCA\u7684\u6642\u7A7A\u80CC\u666F\uFF0C\u4E26\u904B\u7528\u8AAA\u66F8\u4EBA\u8B1B\u8FF0\u6545\u4E8B\uFF0C\u4EE5\u9054\u5230\u89C0\u773E\u8207\u5287\u60C5\u9593\u7684\u758F\u96E2\u6548\u679C\u3002 \u95F4\u79BB\u6548\u679C\u8981\u6C42\u201C\u6F14\u5458\u4E0D\u80FD\u8868\u73B0\u51FA\u5728\uFF08\u821E\u53F0\uFF09\u5468\u56F4\u7684\u4E09\u9762\u5899\u4E4B\u5916\u6709\u7B2C\u56DB\u9762\u7246\u5B58\u5728\u2026\u2026\uFF0C\u89C2\u4F17\u4E5F\u4E0D\u518D\u6709\u300E\u81EA\u5DF1\u4F5C\u4E3A\u771F\u5B9E\u4E8B\u4EF6\u7684\u96B1\u5F62\u89C2\u5BDF\u8005\u300F\u7684\u9519\u89C9\u201D\uFF08Willett 91\uFF09\u3002\u76F4\u63A5\u5BF9\u89C2\u4F17\u8BF4\u8BDD\u5C31\u662F\u7834\u574F\u821E\u53F0\u9519\u89C9\u5E76\u5236\u9020\u95F4\u79BB\u6548\u679C\u7684\u4E00\u79CD\u65B9\u5F0F\u3002\u5728\u8868\u6F14\u4E2D\uFF0C\u5F53\u8868\u6F14\u8005\u201C\u89C2\u5BDF\u81EA\u5DF1\u201D\u65F6\uFF0C\u4ED6\u7684\u76EE\u7684\u662F\u201C\u4E3A\u4E86\u8BA9\u89C2\u4F17\u89C9\u5F97\u5947\u602A\u751A\u81F3\u60CA\u8BB6\uFF0C\u4ED6\u901A\u8FC7\u50CF\u964C\u751F\u4EBA\u4E00\u6837\u5BA1\u89C6\u4ED6\u548C\u4ED6\u7684\u5DE5\u4F5C\u6765\u8FBE\u5230\u8FD9\u4E00\u76EE\u7684\u3002\u201D\uFF08Willett 92\uFF09\u5173\u4E8E\u201C\u6558\u4E8B\u8A69\u5287\u5834\u201D\u548C\u5E03\u83B1\u5E0C\u7279\u5F0F\u620F\u5267\uFF0C\u6559\u5E08\u548C\u5B66\u8005\u4ECD\u6709\u4E89\u8BAE\uFF1A\u5E03\u83B1\u5E0C\u7279\u7684\u201C\u95F4\u79BB\u6548\u679C\u201D\u7A76\u7ADF\u6307\u7684\u662F\u89C2\u4F17\u8FD8\u662F\u6F14\u5458\u8FD8\u662F\u4E24\u8005\u7686\u6709\u5462\uFF1F"@zh . . . . . . . . . . . . "Verfremdungseffekt (en alem\u00E1n: \u2018efecto de extra\u00F1amiento\u2019; \u00ABefecto de distanciamiento\u00BB) es una forma de teatro creada por Bertolt Brecht que consiste en que la obra se centra en las ideas y decisiones, y no en intentar sumergir al p\u00FAblico en un mundo ilusorio, para as\u00ED evitar la catarsis. Se relaciona con el Epischestheater (Teatro \u00E9pico) de Brecht."@es . . . . . . . . . "Efecto de distanciamiento"@es . . . . . . . . . . . . "1220813"^^ . . . . . "\u95F4\u79BB\u6548\u679C\uFF08\u82F1\u8A9E\uFF1ADistancing effect\uFF1B\u5FB7\u8A9E\uFF1AVerfremdungseffekt\uFF09\uFF0C\u53C8\u79F0\u964C\u751F\u5316\u6548\u679C\u3001\u758F\u96E2\uFF0C\u662F\u5FB7\u56FD\u620F\u5267\u7406\u8BBA\u5BB6\u3001\u5287\u4F5C\u5BB6\u5E03\u83B1\u5E0C\u7279\u6240\u63D0\u51FA\u7684\u620F\u5267\u8868\u6F14\u7406\u8BBA\uFF0C\u662F\u6307\u5C06\u89C2\u4F17\u758F\u8FDC\u4E8E\u620F\u5267\u6216\u7535\u5F71\uFF0C\u8FD9\u88AB\u5E03\u83B1\u5E0C\u7279\u79F0\u4E3A\u6558\u4E8B\u8A69\u5287\u5834\uFF08\u5FB7\u8A9E\uFF1AEpisches Theater\uFF09\u3002\u5E03\u83B1\u5E0C\u7279\u8A8D\u70BA\u6232\u5287\u61C9\u70BA\u653F\u6CBB\u670D\u52D9\uFF1B\u89C0\u773E\u5C0D\u821E\u53F0\u4E0A\u7684\u6232\u5287\u6295\u5C04\u60C5\u611F\u6703\u59A8\u7919\u89C0\u773E\u7684\u51B7\u975C\u5224\u65B7\u3002\u5728\u5287\u672C\u7684\u5275\u4F5C\u4E0A\uFF0C\u4ED6\u591A\u4EE5\u7570\u570B\u7684\u3001\u6A21\u7CCA\u7684\u6642\u7A7A\u80CC\u666F\uFF0C\u4E26\u904B\u7528\u8AAA\u66F8\u4EBA\u8B1B\u8FF0\u6545\u4E8B\uFF0C\u4EE5\u9054\u5230\u89C0\u773E\u8207\u5287\u60C5\u9593\u7684\u758F\u96E2\u6548\u679C\u3002 \u95F4\u79BB\u6548\u679C\u8981\u6C42\u201C\u6F14\u5458\u4E0D\u80FD\u8868\u73B0\u51FA\u5728\uFF08\u821E\u53F0\uFF09\u5468\u56F4\u7684\u4E09\u9762\u5899\u4E4B\u5916\u6709\u7B2C\u56DB\u9762\u7246\u5B58\u5728\u2026\u2026\uFF0C\u89C2\u4F17\u4E5F\u4E0D\u518D\u6709\u300E\u81EA\u5DF1\u4F5C\u4E3A\u771F\u5B9E\u4E8B\u4EF6\u7684\u96B1\u5F62\u89C2\u5BDF\u8005\u300F\u7684\u9519\u89C9\u201D\uFF08Willett 91\uFF09\u3002\u76F4\u63A5\u5BF9\u89C2\u4F17\u8BF4\u8BDD\u5C31\u662F\u7834\u574F\u821E\u53F0\u9519\u89C9\u5E76\u5236\u9020\u95F4\u79BB\u6548\u679C\u7684\u4E00\u79CD\u65B9\u5F0F\u3002\u5728\u8868\u6F14\u4E2D\uFF0C\u5F53\u8868\u6F14\u8005\u201C\u89C2\u5BDF\u81EA\u5DF1\u201D\u65F6\uFF0C\u4ED6\u7684\u76EE\u7684\u662F\u201C\u4E3A\u4E86\u8BA9\u89C2\u4F17\u89C9\u5F97\u5947\u602A\u751A\u81F3\u60CA\u8BB6\uFF0C\u4ED6\u901A\u8FC7\u50CF\u964C\u751F\u4EBA\u4E00\u6837\u5BA1\u89C6\u4ED6\u548C\u4ED6\u7684\u5DE5\u4F5C\u6765\u8FBE\u5230\u8FD9\u4E00\u76EE\u7684\u3002\u201D\uFF08Willett 92\uFF09\u5173\u4E8E\u201C\u6558\u4E8B\u8A69\u5287\u5834\u201D\u548C\u5E03\u83B1\u5E0C\u7279\u5F0F\u620F\u5267\uFF0C\u6559\u5E08\u548C\u5B66\u8005\u4ECD\u6709\u4E89\u8BAE\uFF1A\u5E03\u83B1\u5E0C\u7279\u7684\u201C\u95F4\u79BB\u6548\u679C\u201D\u7A76\u7ADF\u6307\u7684\u662F\u89C2\u4F17\u8FD8\u662F\u6F14\u5458\u8FD8\u662F\u4E24\u8005\u7686\u6709\u5462\uFF1F"@zh . . "Distancing effect"@en . "Verfremdungseffekt"@de . . . . . . . . . "Un effet de distanciation est un proc\u00E9d\u00E9 utilis\u00E9 dans le cadre d\u2019une narration fictionnelle, ayant pour objectif d\u2019interrompre le processus naturel d\u2019identification du lecteur ou du spectateur aux personnages auxquels il est confront\u00E9."@fr . . "Un effet de distanciation est un proc\u00E9d\u00E9 utilis\u00E9 dans le cadre d\u2019une narration fictionnelle, ayant pour objectif d\u2019interrompre le processus naturel d\u2019identification du lecteur ou du spectateur aux personnages auxquels il est confront\u00E9."@fr . . . "Der Verfremdungseffekt (V-Effekt) ist ein literarisches Stilmittel und Hauptbestandteil des epischen Theaters nach Bertolt Brecht. Eine Handlung wird durch Kommentare oder Lieder so unterbrochen, dass beim Zuschauer jegliche Illusionen zerst\u00F6rt werden. So kann er der Theorie zufolge eine kritische Distanz zum Dargestellten einnehmen. Der Verfremdungseffekt besteht im Kern darin, dem Betrachter vertraute Dinge in einem neuen Licht erscheinen zu lassen und so Widerspr\u00FCche in der Realit\u00E4t sichtbar zu machen und eine kritischere und bewusstere Wahrnehmung des Gezeigten zu erm\u00F6glichen."@de . . "Lo straniamento \u00E8 un artificio letterario che ha lo scopo di far uscire il lettore \"dall'automatismo della percezione\". Il termine fu introdotto dal teorico della letteratura Viktor Borisovi\u010D \u0160klovskij nel 1916. Il concetto ebbe una enorme influenza durante tutto il XX secolo in ogni ambito della produzione artistica."@it . . "Effet de distanciation"@fr . . "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\"."@en . .