ABSTRACT
Brecht's theory and practice of epic theatre is, rightly, regarded as a reaction against the naturalistic and neoromantic theatre for which Max Reinhardt's name usually stands. Reinhardt was not only one of the greatest practitioners of theatre of his and of all time, he was one of the creators of the modern concept of the director. Piscator and Brecht built on the foundations Reinhardt had laid for them. Reinhardt's roots are deeply embedded in the theatrical tradition of Vienna, a city always fanatically devoted to the theatre, idolizing its actors, dedicated to sensual enjoyment, broad humor, and glittering spectacle. Reinhardt's ability and success as an actor is of the utmost significance for an understanding of his personality and method as a director: in his eyes the theatre was primarily an actor's medium; the literary quality of a text might well be of secondary importance, provided that it gave scope for an actor's peculiar genius.
