Abstract

Epic theatre, as introduced by Bertolt Brecht, signified a dynamic counterproposal to classic aesthetics. Brecht introduced a scientific approach of art, according to which artistic activity has defined as a social incident flourished in contradictory ideas regarding human nature and the explanation of the world. Examining the multifarious functions of art and theatre throughout the history of mankind, Brecht focused on the representations which can provide a supportive tool to the understanding of the world and social reality. His proposal attempted a bridging between art and science, regarding the techniques in formulating representations of a new kind of theatre. Brecht throughout his writings presented his intention to repeal illusion from theatrical events, or more accurately to restrain illusion. At this cause, he conducted representations of reality, without abolishing the cause of entertainment but portraying the ability of the world in change, the human alterable nature. Brecht provided an ancillary mode of directing theatre in view of generating representations which could best portray reality under the scope of a new scientific worldview, dialectical materialism. Brecht’s intention was his theatre to foster a cognitive method for its proper social cause, social intervention for the cause of human deliberation from exploitation. In this paper, a brief introduction on the scientific method of Epic theatre would be purchased by exposing the philosophical dimension of Brecht’s concept.