[2] Returning in the history of theater to the Poetics of Aristotle and taking as an example ancient tragedies and comedies, he rejects the idea of catharsis: "What liberation is this, given that at the end of all these plays, which worked happily only because of the spirit of their time (providence - the moral order), we live a dream-like execution that punishes exaltation as much as debaucheries?"
He also points out that beyond purging souls, it would be a mistake for theater to try to reproduce the reality of its spectators exactly on stage.
The effect would allow the viewer to become conscious of his or her own existence or intrinsic reality within the context of the themes of the production.
Brecht says the great progressive themes of our time: to know that the evils of humanity are in the hands of mankind itself, that is to say that the world can be managed, that Art can and should intervene in History; that it should accomplish the same tasks as the sciences, with which it shares so much.
The "possession" of the actor by the character, and beauty for its own sake, are some of the aspects of traditional acting to which Bertolt Brecht was opposed.
In the scientific age, an actor should be able to play an emotion sociologically, by the interaction of the ensemble of characters.