Damir Bartol Indoš is one of the still active veterans of the experimental theatre in Yugoslavia, and Oliver Frljić is one of the most important directors in today's post-Yugoslav space-time. The paper comparatively analyses two radical and in many ways mutually opposed types of politics and the corresponding aesthetico-poetic apparatus. These differences stem primarily from two completely different conceptions of the community, and consequently the ethico-political habitus that Indoš and Frljić affirm, both in their performances and beyond the artistic framework. Their poetics and actions, and to some extent methods, could be roughly based on the legacy of Artaud, with Frljić, and Brecht, with Indoš, but on many nodes of postdramatic aesthetics, these two poetico-aesthetic lines are met with both of them. Also, this paper tends to show that Artaud's and Brecht's theatre are not as distant as it is emphasised in textbooks, that is, it is insisted on the fact that their aesthetico-poetic, and especially ethico-political heritage is inseparably complementary. The opuses of Frljić and Indoš are also, after the initial distinction, approached with an emphasis on common points that may not be noticeable at first glance, but are clearly discernible from certain perspectives. Their different conceptions and artistic reflections of the community, on the other hand, are broken down into categories that differ in quality and scope - family, theatre, world - but within which, as in onion, relations remain structurally the same.