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The paper deals with the analysis of productions of Bertolt Brecht’s plays on the stage of Mahen’s Drama Ensemble at the State Theatre in Brno under the artistic direction of Miloš Hynšt in the years 1959–1971. Hynšt called to the ensemble some of his opinionrelated personalities: the stage director Evžen Sokolovský and the dramaturg Bořivoj Srba. Sokolovský completed an internship with Brecht in Berlin in the mid-1950’s, and Srba became friendly with Ludvík Kundera, who, together with Rudolf Vápeník, obtained authorization in 1955 to translate Brecht’s works. In the atmosphere of the gradually ‘melting’ 1960’s, this new leadership team created in Mahen’s Drama Theatre a program of appealing political anti-illusory theatre that developed principles of Brecht’s epic theatre and followed the legacy of the Russian and Czech theatrical avant-garde, especially E. F. Burian’s poetic theatre. Initially, this program was deliberately sharpened against Krejča’s concept at the Prague National Theatre, which was based on the Chekhov line. Brecht’s drama and poetics served them perfectly for this confrontation. Hynšt, Sokolovský and Srba were acquainted with Brecht’s socalled Modellbücher and presented a total of four of Brecht’s plays (The Resistible Rise of Arturo Ui, The Caucasian Chalk Circle, Round Heads and Pointed Heads, Mother Courage and Her Children), with each of the two directors staging half of them.