Two prominent German drama traditions – Epic drama and Vormärz drama – were compared and discussed so as to reveal their contributions to the cultural and political characteristics of their periods. German Drama History was reviewed from antiquity to the present day in order to reach the origins of these particular drama traditions. German Drama, which dates back to ancient Greek period and originated from Dionysus cult, went through numerous lingual and formal changes over time. German Drama History was discussed in terms of periods, and the transformation and developments that took place in these periods were investigated. German Drama took two different directions from the 10th century onwards, namely the Humanist Tradition and Religious Tradition. While religious drama is inspired from the Bible and discusses such issues as church rituals, crucifixion, sacrifices, humanist drama ironically and sarcastically deals with realistic issues inspired by everyday life. The Mission of the German Drama was discussed during the Reformation, when earthly and religious motifs were brought together, structural changes took place, plays started with a prologue and ended with an epilogue which summarized the whole play. It was observed that such issues as pain, helplessness, and pricks of conscience, this world and the other world were handled within the context of the motif “Memento Mori” in the Baroque period. Theoretical writings of Gottsched and Lessing in the Enlightenment Age added new dimensions to German Drama, so that drama was used for educational purposes. Especially, thanks to the works of Lessing German Drama caused being a drama of minority, but it became a national one. Joyful drama works written by Goethe and Schiller in their youths were replaced by more empirical, artistic and aesthetical works in the classical age, when social freedom and the importance of logic and intelligence to achieve the freedom were emphasized. In the Realistic period, it was realized that needs of the public were made prominent, a language understandable by the folk was used and German drama transformed from a national drama into a universal one. There was a constant stress on the negative effects of the technology and scientific developments on human life in the Naturalistic period. It is clear that German Drama suffered internal feud during the World War II. The fact that policy-making and ideology just brought about death during the given period led German Drama to purification and works were penned taking conscience as the focal point. In the period from the early 19th century to the midst of it, an outstanding technological development happened in Germany. In particular, expansion of the railways all over the country made the communication between the tradesmen more important. Additionally, the Congress of Vienna increased the polarization and started the most severe opposite polarization in German history, villagers rebelled against the feudal system, and workers against the bourgeoisie and these events were placed in the center of the Vormärz Theater. Every social class in Germany such as workers, liberals, democrats, conservatives was expecting something from the theaters; they tried to communicate their ideology through theaters and thus the people became interested in plays then. Vormärz Theater, which can be defined as the drama of chaos period, dealt with social issues of the period, the pressed poor, unlearnt people, and the ones exploiting the theater by disregarding ethics. Every play staged such opposite poles as the rich – the poor and the learnt – the unlearnt. Aristotle divided literary genres as epic and lyric works. Bertolt Brect’s “Epic Theater” took its name from this division. Epic drama added many novelties to the German Drama. The players’ walking among the audiences and asking questions to involve them into the play were two of these novelties. Estrangement technique was one of the significant novelties. The aim of the estrangement technique was to ensure that audiences controlled themselves, get the feeling of being communicated by the actor and took a critical stance toward the events. Brecht made use of different ways to apply the estrangement technique. Particularly, songs, music, interludes and so on were the elements of estrangement technique. The aim of epic drama was to inform the audience about the social and political issues affecting their lives and let them criticize these issues. Briefly, two important drama traditions – Vormärz Drama and Epic Drama –, prominent in German Drama, and their contributions to the late German Drama were discussed in this study.