This paper reconstructs the first philosophical reception of the French Revolution in history on the basis of Kant’s The Contest of the Faculties and examines its embeddedness in theatrical metaphor as a representative narrative of teleological history written according to a theory of purpose. In relation to the cross-age perspective of the philosophy of history, the text presents an emblematic theatre play as an example of the joint interpretation of aesthetics and political philosophy that, in the tradition of documentary historical drama, defends a materialist view of history and a sociological reading of revolutionary research by replacing the prominent role of history-makers with the representation of the popular and plebeian classes, using elements of popular theatre in order to demonstrate that, at the primal moment of the birth of modernity, the eternal oppressed of society entered the stage of history as agents of the drifting dynamics of the revolution.