ABSTRACT
Bertolt Brecht warrants his place as an executor for being a progenitor of theatre for social change. Basically, Brecht sought a performance style that celebrated contradictions. While Brecht is asking ethical actors to pose uncomfortable questions to their audiences, he does it by drawing upon a global performance tradition many centuries old: Chinese theatre. Jacques Lecoq warrants a place as an executor as he invaluably foregrounded clowning and physical expression for actors, drawing upon all manner of global traditions. Brazilian theatre-maker Augusto Boal warrants his place as an executor for radicalising theatre for social justice. This he did by effortlessly merging the methodologies of our two heavyweights: Stanislavsky and Brecht. Jerzy Grotowski warrants his place as an executor not least by highlighting physical flexibility and the total act of presence but also by harnessing traditions of the East with practices from the West.
