Certain things should be made clear from the very beginning.

When we speak about creative learning, it is not implied that  we refer to the theater. Creative learning aims at entirely different targets. According to Berthold Brecht:   the theater’s aim is to entertain, while the specific concern of creative learning is to grasp and acquire knowledge through theatrical ways and paths

If the man of the theater wishes to reach the Aristotelian catharsis  by the end of each performance, by the same token,  the tutor working in creative learning, desires reaching an analogous  plateau, such, that only the conquering of  acquired knowledge  can provide.

On observing a theatrical play, we see that there is a theme running, a myth or a story that builds the action and within its boundaries, the characters communicate, converse, conflict, sacrifice and live their lives all over again.

We come now to say, that a similar situation is likely to arise in a classroom while the teacher is dealing with the teaching subject.

All he has to do is to discern the myth and the conflicts, to organize the plot, and to arrive finally at the end of the road.

In a similar way that whatever occurs in the natural world is likely to form part of our lives, we could say, that some person, or other people could have it reenacted and then live through the experience.

Eugen Bertolt Friedrich (10 February 1898 – 14 August 1956) was a German poet, playwright, and theatre director of the 20th century. He made contributions to dramaturgy and theatrical production, the latter through the tours undertaken by the Berliner Ensemble – the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel