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Bachelorarbeit aus dem Jahr 2007 im Fachbereich Germanistik - Neuere Deutsche Literatur, Note: 1,3, Universität Erfurt, Veranstaltung: Ästhetik der Gesamtkunst - von Wagner bis zu den Avantgarden des 20. Jahrhunderts, Sprache: Deutsch, Abstract: Ziel dieser Hausarbeit ist es, Piscators Bühnensysteme und seinen unverwechselbaren Inszenierungsstil unter Berücksichtigung der Entwicklung des politischen Theaters in einer zusammenfassenden Darstellung abzuhandeln. Da dieses umfangreiche Thema einer Eingrenzung bedurfte, steht Erwin Piscators Schaffensperiode von 1920 bis 1931 im Vordergrund. Um die Entwicklung dieser Theaterform in Hinblick auf Piscator herleiten zu können, ist es nötig, auch die Anfänge des politischen Theaters in Russland zu untersuchen. Concerning theatre as well as political affairs Erwin Piscator is one of the greatest “theatre man” of the 20th century. In addition to Max Reinhardt he carries weight as one of the revivers of the German stage. His political theatre dominantly influenced the development of the theatre of the twentieth. He tried to mechanize stage, stage setting and stage versions with unconventional means and productions. Because of the theatre-strange use of films, projects, montages’, running assembly lines, metal constructions and banners Piscator was a very controversial and often criticized artist. Especially his usage of the film is considered as demolition of the human stage art. In this paper, which deals with Piscators political theatre between 1920 and 1930 and his style of production, I first worked out a historical brief outline of the political theatre in general. The purpose is to make understandable Piscators different stages of development concerning his theatre concept. In the second part of my paper I analyze his vision of the “total theatre” and the basic lines of sociological script edition. His stage system and his style of production I reflect on the third part closer. I prove these revolutional revivals on the basics of the political revue “Trotz alledem!”.