Since the beginning of the nineteenth century many forms of theatre have been called 'popular', but in the twentieth century the term 'popular drama' has taken on definite political overtones, often indicating a repudiation of 'commercial theatre'. But does that mean that political theatre is or tries to be more attractive to more people than commercial theatre? Does it conversely mean that commercial theatre has no political effects? The articles in this book were submitted as papers for a conference on the theme of 'popular' theatre, film and television.