David Zoob has an impressive CV and a passion for demystifying Brecht in a straight-talking, deeply informed way. I loved Zoob's entertaining descriptions of ‘Best Brecht Clichés’ and ‘Best Misunderstandings of Brecht’ including earnest ‘representational acting’ on placard-laden stages with house lights and shouty narration.
Zoob illuminates Brecht before his introduction ends. I whooped when I read his exhortations to experiment, not revere, ‘There is no specific Brechtian acting style’. If only I had this clarity as a student.
Through practical, inventive chapters from Gestus and Spass to Contradiction and Emotion, Zoob reveals a fresh, energised approach. I found it brilliant. There are comprehensive exercises, playful games, script interpretations, and plentiful opportunities for learning. Whether Zoob is workshopping Shakespeare, exploring Chekhov, analysing Miller, finding depth in Mother Courage, or looking at power in Pinter he is insightful, fun and helpful.
Favourite sections included the adaptable gestus exercises, including ‘The Bow’ and ‘Handshakes’. While familiar, these narrative skeletons, improvisations, questions and freezes work. Zoob suggests Brechtian actors, ‘live inside and stand outside the character.’ Such excellent nuggets are sprinkled generously throughout.
With infinite modesty, Zoob explains that the best thing readers can do with his book is improve on it. Drama teachers will enjoy taking on this challenge.