DEPARTMENT OF ENGLISH
BHAGAT PHOOL SINGH MAHILA VISHWAVIDYALAYA
KHANPUR KALAN, SONIPAT
DOI: 10.24113/ijellh5270 https://doi.org/10.24113/ijellh5270
The ‘gestic principle’ which is fundamental and central to Brecht’s theory of theatre is a significant arsenal of theatrical aesthetics to define and determine the semiotic possibilities of theatre art. Brecht developed the acting style ‘gestus’ on the basis of this principle. Through this technique of ‘gestus’, he explores the ‘gestic’ possibilities of everything that is used on stage in a theatrical performance. To him, anything without ‘gestic’ value has no place in theatre. Brecht’s vision of theatrical aesthetics does not allow him to see theatrical action outside the sphere of ‘gestus’. In fact, it may be assumed that Brechtian theatre is constituted through ‘gestus’. Theoretically, it is an eclectic, complex and dynamic concept which constitutes the whole dynamics Brechtian theatre. ‘Gestus’ is the nucleus of Brecht’s aesthetics of theatre around which all his dramaturgy is structured. The paper is an attempt to explore the theoretical dimensions of ‘gestus’ and its importance in theatrical communication.