Abstract

            This paper examines Bertolt Brecht’s concept of the ‘politicisation of aesthetics’ through a critical study of The Life of Galileo. Situating Brecht within the socio-political upheavals of post-First World War Germany, the paper aims to explore how Marxist thought, technological modernity and changing social realities transformed the function of art and theatre. It contrasts Brecht’s theory of Epic Theatre with Georg Lukács’s advocacy of classical realism, arguing that Brecht sought to redefine realism by rejecting illusionistic representation and emotional identification in favour of critical engagement. Through techniques such as alienation, episodic structure, placards, commentary and open-ended narratives, Epic Theatre encourages audiences to become active critics rather than passive spectators. The paper further engages with Walter Benjamin’s reflections on mechanical reproduction, the decline of the ‘aura’ of art, and the emergence of the artist as a producer. It argues that Brecht’s theatrical innovations embody Benjamin’s call for the politicisation of aesthetics by employing modern techniques to expose social contradictions and inspire transformative action. Brecht presents Galileo not as a conventional tragic hero but as a dialectical figure whose contradictions provoke critical reflection on science, power and moral responsibility. Brecht’s Epic Theatre represents a radical departure from Aristotelian dramatic conventions, transforming theatre into a medium of political consciousness and social change. By foregrounding critical distance over emotional catharsis, the dramatist establishes a theatrical practice that remains relevant to contemporary debates on art, ideology and social transformation.