" Named after the early twentieth century German playwright, Bertolt Brech, who felt that the theater was a means to motivate people to think for themselves, and move them to political action. Brechtian theater departs from conventional theater in several important ways. Foremost, Brechtian theater makes the spectator an observer of the circumstances of the play, and inspires them to learn from the course of the plays action, rather than simply sharing an emotional experience that interests the viewer in the outcome of the play alone. Most importantly, the Brechtian theater appeals to the viewers intellect, rather than just appealing to their feelings. It is clear that these are also Fo's intentions, and he goes about them in several ways. .
Most Important, is Fo's use of language over action as the focus of Accidental Death. In the beginning of the play, the Maniac has convinced the other policemen that he is a superior sent in to get the facts concerning the death of an anarchist being held by the police. He is aware from the beginning that the officers are being less than honest with him, and casually begins to question what happened to the anarchist. At no point during the questioning does the real truth of what happened to the anarchist come to light. Rather, the Maniac leads the other police officers in a ruse to try to create an acceptable story to give the media, and the polices" superiors. Through-out this conversation, the Maniac, a radical himself, toys with the dim-witted police officers. He questions their methods of interrogation, and rational for suspecting the anarchist at all. It is through this discourse that the author revels his message. .
One term that is referred to throughout the play is that of the "raptus," or state of intense or overwhelming excitement that caused the anarchist to jump out of the window. This is the official term given by the police, and it is used by the maniac incessantly to poke fun at the cops.
