It is widely known—but less proven through the concrete analysis of specific performances—that one of the most cunning strategies of Aczél’s cultural policy was the creation of a dispositif that was not only permitted but explicitly supported. A specifically socialist realist apparatus, which—invoking the will of the majority—allowed previously unknown buildings, dramaturgical procedures, directorial languages, and acting solutions to enter the “space of legitimate viewing.” This state-imposed aesthetic norm system represents the cultural model of Stalinist voluntarism and Kádár-era consolidation. It benevolently narrates to us what the “Other” serving the interests of the majority is like, and then, through its support, it creates a standardised corpus of this authorised “otherness,” governed by its own rules. At the same time, it was still possible to be “other” even within this canonised narrative of otherness. Emblematic examples of this are Mother Courage (1958) and Uncle Vanya (1970).