Brecht's influence is to be seen everywhere on the European stage. The peripatetic critic has a wide choice of Brechtian patterns to observe and record—stagecraft, acting, ideas about society, re-interpretation of history—but the one that I find of particular interest is a school of playwriting. It is natural enough that in the English-speaking world we identify principally Brecht's English disciples—John Osborne, Robert Bolt, John Arden; it takes us a little longer, since most of us wait for translations, to discern and interpret the Brechtian vogue on the continent where, possibly, truer disciples are writing their plays.