This article aims to reread Brecht’s work by emphasising his contributions to drama education and pedagogical theory rather than viewing him in conventional terms as a cultural icon and “great practitioner” of theatre. The current study reflects on the one hand on the reconstructions of the first Brecht-premieres in Hungary—directed by Endre Gellért, Géza Pártos and Tamás Major—from this postbrechtian point of view, on the other hand, I argue that one of the most popular genres of the alternative theatre of the 1970s, the so-called ceremonial document-oratory might be described as an example of gestic acting (Gestus).