These three rules are essential for the Tragedy, that is the representation of the world, and for this reason influence the citizens of the time, according to Aristotle. Not forgetting that at the time, the philosophers, wanted to understand the world. For they did not interest that the people had opinion (doxa) on determined subject. All age reproduced in the tragedies and that moment everything decided, was not necessary to question because everything already had been debated. Chapter II 2.Catarse for the theater of Brecht and the Question of feminine in the society of Atena (Old Greece) and the Brazilian (Dictatorship). 2.1Papel of the theater for Brecht the epic and didactic theater it is characterized, in Brecht, for the narrative and descriptive matrix whose subject is to present the social events in its dialtico process: It amuses and it makes to think. It is not limited to explain the world, therefore it is made use to modify it. It is a theater that acts, at the same time, as science and as art.
(WILSON, Peter (UCG/UFG). Bertold Brecht: Example of Reflection and Action To change the World, Pg.01) Brecht established a new model of theater, since the subjects until uncurling of the part. For the author the spectator has that to always remain imprisoned to the events, therefore the estria if breaks, advances, returns from where he was. everything this is intentional, therefore it is the moment that the spectator has to reflect on the part instead of if losing in the fancy. The term ' ' Theater pico' ' it characterizes the writing of Brecht, that makes of the public a critical observer, leaving the inertia state and creating a new attitude when reviewing the world. In the epic theater, the events do not follow a rule, the scenes if develop by itself, and produced sensations are in the conscience.