Theatre plays written in Brechtian, non-Aristotelian structure differ from those of classical dramatic structures in several aspects. One of the aspects they are different is the aesthetical relationship that is built between the audience and performance. While in Aristotelian drama, the aimed relation is emotional identification, non-Aristotelian performances aim at that the audience integrates with the meaning intellectually and critically. Likewise in drama in education field, modern approaches such as process drama of Cecily O’Neill provides the participants with the opportunity that they can observe, handle and analyze the human life situations that are dealt with in a class critically. It can be suggested that process drama activities are parallel to non-Aristotelian structure of Brecht’s epic theatre in some ways. Techniques and structure as the elements of these two notions (O’Neill’s process drama and Brecht’s epic theatre) resemble to each other not only by the usage and also by the relationship between the process and the participants as well. Some elements from Brechtian plays can also be seen in process drama activities in a way that participants are no longer passive objects of artificial pure-didactic processes but they are active and critical subjects of an interactive learning process and acquire opportunity to obtain a special aesthetical experience that is unique to the performing arts. This paper intends to build a direct link between drama in education and theatre fields and to explain this link from a structural point of view by comparing examples from plays of Brecht and process drama sessions of O'Neill. This comparison may be contributing to a well-known dispute: whether drama in education can lead to any aesthetical experience or not?

Keywords: Drama in Education, Process Drama, Epic Dramaturgy, Brecht, Cecily O’Neill, Episodic Structure