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The presentation tries to define ways of becoming „political“ used by contemporary theatre artists based on detailed analyses of ten specific contemporary theatre performances from Czech Republic and other european countries, that show signs of „political“. These analyses try to examine activisating principles that repeat in more performances. The study tries to theoretically define them and deduce, how can they be used to mentally activate the spectator. In the preliminary introduction I will examine the terms „political theatre“, „mental activization“ and the reasons why this kind of activization is vital part of contemporary political theatre. The reasoning behind this is based on the concept of relational art defined by Nicolas Bourriaud in his work Relational Aesthetics. The presentation focuses on three performances based on relational aesthetics: Guilty Landscapes by Dries Verhoeven, Ordinary People by Archa Theatre Prague and Living Dance Studio Beijing and Sorry by Monster Truck Berlin and The Footprints of David Nigeria. Using Jacques Ranciére´s critique of relational aesthetics, the presentation offers a new way of perceiving relations between performers and spectators in a theatre piece.