Bibliography: pages 617-630. / This dissertation proposes to examine the work of John McGrath and the 7:84 Theatre Company as part of a continuum of theatrical experimentation culminating in postmodernism. To clarify the relationship between aesthetic form and social praxis the inquiry proceeds in two salient lines of direction: the first tracing the withdrawal from "realism" of major theorists of modernist ideology, the second defining the political and social milieu which provided the matrix for the development and staging of McGrath's plays. Recognising the partisan disposition of the 7:84 Theatre Company, the focus is on not only the division between political commitment and aesthetic experimentation, but also their potential for conciliation. At stake here is the socio-political nature of dramatic form itself and the contradictions implicit in political theatre's inherent structure. Tested against actual modes of procedure in the staging of McGrath's plays, and against the plays themselves, are the modernist propositions on aesthetics and politics argued within the context of German Marxism by Bloch, Lukacs, Benjamin, Adorno, and Brecht. The inquiry into problematising representational modes is then extended to include the postmodernist resistance to both realism and modernism, seeking precisely where and how McGrath's theatre supports this opposition. Following a critical dissection of representative texts, the conclusion attempts to establish their validity as postmodernist art, wordlessly disclosing within the parameters of their own language structure what cannot be asserted effectively by the practice of politics itself.