After classic, Brechtian, and documentary modes of presentation, another option would be the spectacular violence onstage of Blasted by Sarah Kane.
[a small aside about the mitigated version of the play as staged in Berlin]
But the larger question of whether the realistic violence distracts from the political intent of the play.
Actually the larger issue was the inability of the spectator to withdraw – so that everyone’s reaction was visible within the theatre, that reaction was a public element to the spectacle.
If Brecht prevents you from becoming fully immersed, doesn’t naturalism become its own reactionism, it’s own source of shock or alienation?
Levine: there’s a comment from Weil, that true suffering is aversive, that it puts you off.
Real suffering makes you feel powerless, it doesn’t deaden you – I feel it – but the question is what you do. The question isn’t about feeling it, it’s a dilemma of action.