ABSTRACT
Erwin Piscator's assessment is substantiated by Schreyer's definition of the revolution of Expressionism: Revolution means turning back, that is, a return to origins. Now in 1927 Piscator was concerned with the way documentary was confused with poetic lyricism in Ernst Toller's new play. When in 1920 Piscator began to direct for the Second Proletarian Theatre, there was therefore nothing particularly new about the notion of using the stage as a political platform. Where Piscator's work was decisive was in the gradual freeing of the theatre from its individualistic irrationalism. Expressionist theatre, with its montage structure, powerful visual images and elements of music and movement, had done much to restore the theatricality of theatre, but its high-flown style and idealistic sentiments had prevented its becoming truly popular. The theatre had become reality for them and soon it was no longer the stage versus the auditorium but a single great meeting-hall, a single great battle-field, a single great demonstration.
