Stylistically speaking, there is nothing all that new about the epic theatre. Its expository character and its emphasis on virtuosity bring it close to the old Asiatic theatre. Didactic tendencies are to be found in the medieval mystery plays and the classical Spanish theatre, and also in the theatre of the Jesuits.
These theatrical forms corresponded to particular trends of their time, and vanished with them. Similarly the modern epic theatre is linked with certain trends. It cannot by any means be practised universally. Most of the great nations today are not disposed to use the theatre for ventilating their
problems. London, Paris, Tokyo and Rome maintain their theatres for quite different purposes. Up to now favourable circumstances for an epic and didactic theatre have only been found in a few places and for a short period of time. In Berlin Fascism put a very definite stop to the development of such a theatre.
It demands not only a certain technological level but a powerful movement in society which is interested to see vital questions freely aired with a view to their solution, and can defend this interest against every contrary trend.