rom society that we do not just relate to their suffering, as is the case in conventional dramatic theater, but we also demand that there must be social change to end this brand of suffering for all human beings. As Brecht wrote of the impact of his epic theater on individual spectators, ôThe epic theaterÆs spectator says: IÆd have never thought it û ThatÆs not the way û ThatÆs extraordinary, hardly believable û ItÆs got to stop û The sufferings of this man appall me, because they are unnecessary,ö (Bertolt, p. 1).
BrechtÆs epic theater, then, is aimed at promoting social activism driven toward social justice for all human beings. In this vein, it occurs on the macro-level of change in comparison to the micro-level of individual change extolled by Antonin Artaud in his ôtheater of cruelty,ö (Fowlie, p. 203). In his theater or cruelty, Artaud, inf
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