In the exuberance of revolutionary zeal, it is natural that certain political theatre groups should turn to forms of entertainment associated with fun, with the common man, with people in general regardless of social, economic, or educational status, in contrast with the traditional aristocratic forms that have “artistic” pretensions and tend to be more contemplative than energetic. It is also predictable that such groups should shun ballet, opera, the symphony, and literary theatre, and use instead techniques from commedia dell'arte, circus, puppet shows, music hall, vaudeville, parades, magicians, carnival side shows, buskers, brass bands, comic strips, striptease, melodrama, minstrel shows, and other means of exhilarating celebration.

Since the present seemed to hold no answers, it was inevitable that the search by these groups for political theatre forms would turn to the past, a past which, through education and television, had become more accessible than ever before. Such breaks with the present served another purpose as well—they demonstrated a disassociation with the Establishment and its theatre.