an instrument for pedagogical work among students and revolutionary collectives.5 The didactic theatre stresses the importance of cultural activity of the proletariat. Brecht saw this activity as part of revolutionary work at the level of the superstructure which has to accompany every social revolution. The concept of literary production as part of social praxis is based on the dialectical relationship between base and superstructure. While determining the nature of revolutionary work in the superstructure, Brecht applies the first of the Theses on Feuerbach in which Marx criticizes Feuerbach's mechanical materialism: The chief defect of all hitherto existing materialism - that of Feuerbach included - is that the thing (Gegenstand), reality, consciousness, is conceived only in the form of the object (Objekt), or of contemplation (Anschauung), but not as human sensuous activity, practice, not subjectively......6 Social reality too is a manifestation of human, sensuous activity of practice. The reconstruction of this concept of 'practice' enables Brecht to define literary praxis not merely as a reflection of the economic base, but as a constitutive element of man's productive activity. Viewed within this framework of productive activity, literary praxis then becomes a socially relevant factor, not merely reflective, but also functionally operative. In the didactic theatre, the productive sphere of the workers is extended to production at the level of the superstructure - determining new social mores - thus anticipating on a minor scale the conditions envisaged by Marx and Engels in a communist society when division of labour no longer exists. While describing the epic theatre in theoretical writings, Brecht talks of a new 'style of theatre'. The epic theatre, which arose out of Brecht's conscious rebellion against the bourgeois theatre of illusions, confronts the spectators with various aspects of the reality surrounding them. While emphasizing the need and the possibility of revolutionary change, the epic theatre attempts to give the spectators insights into the functioning of social reality. On the basis of these insights gained in theatre, thought-processes are set in motion which gradually lead to the development of a revolutionary consciousness. The pedagogical aim of the epic theatre which is directed towards the spectators lies in the awakening of a revolutionary consciousness among the masses. While analysing Brecht's criticism of classical bourgeois theatre, it becomes apparent that the main thrust of this criticism was directed against the illusionary nature of this theatre, and not at its institutional 26 January - March 1983