Tomasz Fryzeł writes about the film and stage work of Peter Brook through the focus of its political and social potentials. The text opens with a detailed, critical analysis of the relationships between Battlefield (the most recent performance by the British director) and socio-political reality. The author then claims that Brook's performance echoes his pacifist engagement from the 1970s. Analysing the films Tell me Lies (1968) and Marat/Sade (1967), and referring to the artist's theoretical statements, Fryzeł points out an evolution in the director's perception of the political role of art.