Bertolt Brecht is generally regarded as the most influential and politically engaged left-wing playwright of the Twentieth century. Traces of his theory and practice are to be found around the world, including in the works of important Egyptian playwrights of the sixties such as Yūsuf Idrīs, Naǧīb Surūr and Alfred Faraǧ. Brecht's work and ideas did permeate the theory and practice of the three Egyptian playwrights, though even if they all shared a commitment to social issues, critics agree that

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... the Egyptians ignored the philosophical essence of Brecht's devices or did not have a clear ideological grounding – thus concluding that their understanding of Brecht was partial. Through a study of epic aspects of Alfred Faraǧ's theatre, this article aims instead to highlight the transformations operated by the playwright to mould epic theatre to fit his own ideology, his aesthetic and the local context in the logic of tamṣīr (Egyptianisation).