This chapter examines two forms of practice that communicate messages from a group or individual to the public, cultural production and political public speaking in light of cultural theories Marxists. Examining the writings on art practice by mid-20th century Marxist thinkers makes one thing clear: the aesthetic statements of artists and cultural figures play a role in political and social discourse and the importance of This role in the context of the class struggle must be emphasized. not to be ignored. The role of aesthetics, as seen by Marxist theorists such as Adorno and Horkheimer, is to educate and inspire the public to live a life more worth living. (Adorno, 2006, p. 39) This chapter argues that cultural practitioners have a responsibility to encourage the public to confront their social and political conflicts. Two methods of fulfilling this responsibility are discussed. The first is the assertion that a political message contained in a work of art should be communicated without attempting to create an emotional anchor with which the audience can identify. This method, expounded mainly by Brecht, considers the political message as the most important aspect of the work; so it is crucial that the audience receives it and does not get distracted. The second approach, as envisaged by Lukács, supports a representation of reality that allows the public to identify with and identify with political messages. Emotional connection is presented in this concept as essential to the successful transmission of an idea, because human beings relate more easily to topics to which they can connect emotionally. Both of these methods are discussed in the chapter in relation to the transmission of political messages through aesthetics. , not strictly in the art world, but also... middle of paper... also popular and enjoyable art, not just art that has a politically "correct" line. Indeed, to be politically correct, art must be pleasant and accessible. (Lovell, 1980, p. 77) Brecht viewed art as a verb. He saw a social revolution as inevitable and believed that art should do more than contribute to the current state of things. The role of the artist is to bring about social change by pushing the audience into a process of critical thinking, and this is achieved by producing works that are bold, experimental and confrontational, not only in subject matter but also in form. Brecht viewed the existing form of artistic practice as supporting the social status quo rather than revolution. He developed his model of epic theater following his analysis of bourgeois theater and distinguishing elements of this form that did not sufficiently serve revolutionary messages...