From its inception, Sistren was an “aesthetic space” established for the dual purposes of theatre-making and therapy. An “aesthetic space”, a concept developed by Augusto Boal in his book The Rainbow of Desire (1995), is one in which humans, through performance, see themselves in an imaginary mirror. The process is “dichotomic”, argues Boal, with participants functioning as both actor and spectator, object and subject. In their initial drama workshops, Sistren members were encouraged by Honor Ford-Smith to devise theatre based on their personal experiences of gender and colour-class oppression and, in seeing and hearing their own and/or each other’s stories, to consider how their respective situations could be different. This chapter discusses the varied influences that shaped Sistren’s “aesthetic space” as well as the work of theatre practitioners and groups whose approaches to drama were similar to those of Sistren. It is important to emphasise here that there were many people, working- and middle-class alike, who contributed substantially to Sistren’s “aesthetic space” as it developed over the group’s first ten years of existence, and these contributions are discussed throughout the book. This chapter will largely focus on the work the group produced collectively between 1977 and 1980.