Epic Theatre

Epic theatre is a theatrical theory and staging method developed by the 20th-century German poet, playwright, and director Bertolt Brecht, aimed at achieving political and social objectives. In opposition to the traditional Aristotelian theatre, which seeks to immerse the audience in an emotional identification process (catharsis) and thereby render them passive, epic theatre aims to position the spectator as an active observer, encouraging critical thinking, questioning, and ultimately, awareness of the potential to transform social reality. Rooted in a Marxist and dialectical materialist worldview, this approach seeks to transform the stage from a space of entertainment into a forum for the analysis and discussion of social issues.

Historical Development and Philosophical Foundations

The emergence of epic theatre cannot be understood apart from the turbulent political and social atmosphere of the interwar period. Bertolt Brecht witnessed the devastation of World War I, the instability of the Weimar Republic, the economic crisis triggered by the Great Depression, and the rise of Nazism. These historical conditions led Brecht to view art as an instrument of social change and to question prevailing theatrical conventions. Influenced by Marxist currents, Brecht developed a theatrical theory centered on critiquing the capitalist system and bourgeois society. His goal was to make visible the underlying causes of social problems such as unemployment, hunger, and war, as well as the class-based contradictions that drive them.

In developing this new theatrical approach, Brecht drew on his experiences with cabaret and street theatre. Forced to flee Germany after the Nazis came to power in 1933, Brecht continued refining his theory during his years in exile. After the war, he returned to East Berlin and, together with his wife, the actress Helene Weigel, founded the internationally renowned Berliner Ensemble, where he staged his epic theatre works. This company played a pivotal role in establishing Brecht’s theatrical ideas internationally and ensuring their lasting influence.

Contrast with Aristotelian Theatre

The most fundamental characteristic of epic theatre is its radical rejection of the dramatic principles outlined by Aristotle in his Poetics. Aristotelian theatre aims for the audience to identify emotionally with the characters on stage, to experience their feelings—such as fear and pity—and to undergo a cathartic emotional release by the play’s end. The spectator becomes absorbed in the illusionary world created by the play and comes to believe that the events unfolding on stage are the inevitable result of fate. According to Brecht, this condition reduces the spectator to a passive recipient and prevents them from engaging in critical thought.