This article explores a single, yet generative question within the framework of applied theatre studies: what genre-theoretical, dispositif-critical, and reception-historical insights emerge when the relationship between the platform theatre model theorised by Tibor Debreczeni and Antal Rencz, and the Zöld Szamár Theatre is examined through a single Philther reconstruction. The analysis considers whether the two formations share key characteristics: (i) the capacity to continuously theorise their own practice; (ii) an understanding of theatre-making as both a pedagogical workshop and a form of social activism; and (iii) an ability to synthesise agitational genres of working-class culture, the emergent art of movement, and the visual arts that had become integral to scenographic language. The case study of the lyrical oratorio Perlő ének (1971) serves as the central site of this inquiry.