For theatre historians, teaching the gradual emergence of the political aesthetics that shaped the performances and theatres of the 1960s can be a particularly daunting task, but it is also a task whose importance to our work as scholars and teachers is fundamental because the political aesthetics that took seed in the sixties continue to shape our critical practices at the beginning of the twenty-first century. When we teach the sixties, we are in effect teaching the impact of that period on the discourses and institutions of theatre scholarship. So, at one level, a consideration of the theatre of the sixties almost inevitably entangles us in difficult (but valuable) self-reflexive practices. These moments of scholarly self-reflection in relation to our not-so-distant past need to be encouraged. Above all, they need to be made the product of conscious and deliberate aim; otherwise, we risk committing the same errors that were warned against four decades ago. Such self-reflexivity can, potentially, teach scholars and students about the sociohistorical underpinnings of pedagogy, historical periodization, canon formation, and the multiple technical necessities of the theatre form.