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The book concludes with a chapter that considers Brecht in the light of recent, postmodernist and other developments in theatre. It draws on contemporary ideas on performance of significant practitioners such as Augusto Boal, Eugenio Barba, Howard Barker, David Hare and, in particular, Edward Bond, and assesses ways in which Brecht’s plays may be performed now. Finally, it speculates about the future and the continuing need for Brechtian theatre. As the man himself said: We need a type of theatre which not only releases the feelings, insights and impulses possible within the particular historical field of human relations in which the action takes place, but employs and encourages those thoughts and feelings which help trans-form the field itself. (B on T, p.190)