Characters are not intended to mimic real people, but to represent opposing sides of an argument, archetypes, or stereotypes. The audience should always be aware that it is watching a play, and should keep an emotional distance from the action. Brecht described this ideal as the "Verfremdungseffekt", translated as "alienation effect". "It is most important that one of the main features of the ordinary theatre should be excluded from the engendering of illusion". Common production techniques in epic theatre include simplified, non-realistic set designs and announcements or visual captions that interrupt and summarize the action. Brecht used comedy to distance his audiences from emotional or serious events; he was heavily influenced by musicals and fairground performers and included music and song in his plays.

© Stefan Saffer

Click on image to enlarge.

These objects negotiate the space like characters on stage, each with its own narrative, taking a certain position within the group. On closer inspection they reveal themselves as handmade in construction, their improvised nature further allowing a discourse to take place.

Stefan Saffer, born 1969, Germany, lives and works in Berlin.

Selected exhibitions in 2008: Kohlenhof Kunstverein Nürnberg; Holland Paper Biennial, Rijswijk Museum, Rijswijk and CODA Museum, Apeldoorn. 2007: Berlin Flatfiles, Artnews Projects, Berlin (curated by Pierogi, Leipzig). 2006: "Eigenheim, Everything but the kitchen sink", Kunstverein Göttingen, Germany. 2005: "Looking at Words", Andrea Rosen Gallery, New York. He took a residenciey at Delfina Studios, London in 2005 and participated in the Whitney ISB Program, New York in 2003-4.