In this piece the authors seek to re-read Brecht in terms of his contribution to drama education and pedagogic thought, rather than viewing him in conventional terms as a cultural icon and ‘great practitioner’ of theatre. The authors believe that a Brechtian conceptual framework, with its emphasis on critical production and critical audiences, is still pertinent to the conditions of contemporary cultural production. A Brechtian framework is seen as a way of taking drama education beyond the conventional polarities where on the one hand it is seen as a process of moral and social education dealing with universal truths, or on the other hand, as a set of formal and critical techniques
