الفهرس 
Theorizing the Postmodern TheatreOnly 14 pages are availabe for public view
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Abstract
Since the time of Aeschylus and Sophocles, theatre has been one of the most important places where political debates and issues are raised. Dating back to the Greeks and the origins of theatre itself, political theatre in contemporary drama begins with the theory and practice of two major political theatre theorists, namely, Erwin Piscator (1895-1966) and Bertolt Brecht (1898-1956). Both believe that theatre should not just reflect the world but change it. Indeed, Piscator and Brecht assume that art can become a weapon in the socio-political struggle. But this would only take place if the audience are urged to question their relationships to the work onstage, and to overcome the theatre’s traditional role of merely entertaining its audience. Theatre should not be something one consumes; it should be something that stimulates one to reflection, and more importantly, to action. It is immensely crucial to realize that the concept of political theatre as developed by Piscator and Brecht insists that the political is not just in the content but also in the form.