The contribution of Brecht to the scenography of the twentieth century goes far beyond important changes in the appearance of the stage. In his writing and in his practice, he deconstructs the human complexity of the 'director-designer relationship' and offers a mode of creating theatre which, in an organic way, links not only the end products of dramaturgy and scenography, but also centralises within this process the working practices of dramatist, director and scenographer. We have to consider therefore the relationship between Brecht's political and philosophical view of theatre and his expectations of scenography; the way in which these expectations developed in the collaboration with Caspar Neher; and finally the reverberant effects which these ideas and practices have had, and still have, upon contemporary theatre.