a more rational way. Brecht's aesthetics have influenced political playwrights throughout the world, especially in India and Africa. Augusto Boal developed the Brechtian form of Lehrstücke into his internationally acclaimed Theatre of the Oppressed, with its techniques of 'forum theatre' and 'invisible theatre', to further social change. Boal's work in this area has contributed to the emergence of the Theatre for Development movement across the world. In the sixties playwrights like Peter Weiss adopted a more 'documentary' approach towards political theatre, following on from the example of Erwin Piscator in the twenties. Weiss wrote plays closely based on historical documents like the proceedings of the Auschwitz trial in Frankfurt. Realism in theatre Less radical versions of political theatre have become established within the mainstream modern repertory - such as the realist dramas of Arthur Miller (The Crucible and All My Sons), which probe the behavior of human beings as social and political animals. Feminist theatre A new form of political theatre emerged in the twentieth century with feminist authors like Elfriede Jelinek or Caryl Churchill, who often make use of the non-realistic techniques detailed above.. During the 1960s and 1970s, new theatres emerged addressing women's issues. These theatres went beyond producing feminist plays, but also sought to give women opportunities and work experience in all areas of theatrical production which had heretofore been dominated by men. In addition to playwright, producers, and actors, there were opportunities for women electricians, set designers, musical director, stage managers, etc. Brechtian theatre The Living Theatre, created by Judith Malina and her husband Julian Beck in 1947, which had its heyday in the 1960s, during the Vietnam War, is a primary example of politically oriented Brechtian performance art in the United States. Their original productions of Kenneth Brown's The Brig (c. 1964), also filmed, and of Jack Gelber's controversial play The Connection and its 1961 film rely upon and illustrate the dramaturgy of Brechtian alienation effect (Verfremdungseffekt) that most political theatre uses to some extent, forcing the audience to take a "critical perspective" on events being dramatized or projected on screen(s) and building on aspects of the Theatre of Cruelty, which developed from the theory and practice of French early surrealist and proto-absurdist Antonin Artaud. American regional theatre In American regional theatre, a politically oriented social orientation occurs in Street theatre, such as that produced by the San Francisco Mime Troupe and ROiL. The Detroit