This is an abridged version of an article by the same title published in Review1, launched in 1965 as Monthly Review’s literary supplement. Eleanor Hakim was the managing editor of Studies on the Left in its first few years. At the time she wrote this article she was teaching at the New School for Social Research in New York City. Her essay dealt with Brecht’s theory of the subversive role of the artist in confronting what he conceived as the “cultural apparatus”and how this affected his theory of epic theater. Hakim was particularly concerned with demonstrating that Brecht’s critical outlook was confirmed by the way that, after his death, the U.S. cultural apparatus (“the theatrical stock exchange” of her title) was manipulating and de-radicalizing his drama. In this context, she drew out the significance of Brecht’s revolutionary humanism.… —Eds.