Aesthetics, as a distinctively "philosophical" exercise, whether with respect to research or to teaching, is supposed to be about the "theory/theories" that underpin the works of art in these various fields. Given this, "applied aesthetics" demands a preliminary explanation. First of all, the phrase might refer to an analysis of a particular work or genre of art in terms of the aesthetic theory (or element of a theory) applied in it. Secondly, it might refer to an aesthetic theory or particular art-works that embody a broader philosophical theory. These two senses of applied aesthetics are not, in principle, incompatible. Indeed Bertolt Brecht seems to make a perfect case for their combination. In "A Short Organum On Theatre," Brecht sketches his aesthetic conception of "epic" or "dialectical" theatre of which "Life of Galileo" is an excellent example. And he uses Charles Laughton's performance of the lead role in that play to elucidate "alienation effect"; one element of his aesthetics. Yet all this is itself thoroughly bound up with a Marxist philosophy. In this article, the authors describe how applied aesthetics work in a pedagogical context through Philosophy 103, a course (cross-listed as Fine Art 103) that can be accurately described as "theatre aesthetics." Students are expected to be able to appreciate critically a production of a play--"Life of Galileo"--as part of an audience on a particular night. (Contains 27 notes.)