That future historians of English drama will describe the period since 1956 as an era of Brechtian influence is quite possible. If so, the phenomenon will be an illustration of the quirks and ironies of cultural diffusion between nations: for that Brechtian era had a great deal of talk and discussion about Brecht and what he was thought to stand for, but few valid productions of Brecht, little genuine knowledge about Brecht, and hence little evidence of any influence of Brecht's actual work and thought. The “Brechtian” era in England stood under the aegis not of Brecht himself but of various second-hand ideas and concepts about Brecht, an image of Brecht created from misunderstandings and misconceptions.