Carl Weber 
 
 
which was not merely voiced in discussion but clearly evinced in many 
of the performances shown during the symposium. These conflicting 
positions - or do they rather complement each other? - raise 
fascinating questions which will be discussed for a long time. Is 
Brecht's paradigm still a tool with which we can interpret the 
contemporary world? Or are his models too simplistic for the 
presentation of post-industrialist society and only relevant now for 
less developed Third World cultures? Do we need new paradigms, so 
we can radically re-discover his work? Or has his appropriation by the 
indigenous theatre in Asia already begun to move towards such a new 
paradigm? Indeed, the old dialectician has not ceased to confront us 
with ever new contradictions. 
 
 
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