This essay examines critically the use of violence in Edward Bond's drama, a politically conscious and highly provocative playwright of the 20th century. Transcending the Aristotelian theory of catharsis, Bond reinterprets the function of violence on stage as a provocation for social consciousness and ethical involvement. Where dramatic violence has historically operated to cleanse feeling through empathy and pity, violence in Bond is a deliberate tool of disturbance, alienation, and wake-up call to social injustices and moral complacency. This break from catharsis towards confrontation was Bond's belief that theatre did not have to reflect society but question it and transform it. The research is guided by big-deal plays such as Saved, Lear, and Bingo in which acts of brutal violence become the focus to disclose the dehumanizing forces of capitalism, state repression, and social neglect. In these plays, Bond constructs a theatre of ethical involvement which rejects passive reception in favour of critical thinking. The article also places Bond's dramaturgy within a larger theoretical context, invoking Brechtian epic theatre, post-war realism, and critical theory to explain his break with the standard aesthetic norms. In addition, the essay discusses the controversies surrounding Bond's work, including censorship, critical reception, and audience reception. The author argues that Bond's violence is not gratuitous but is placed within a political and ethical context in an attempt to restore human responsibility and agency in a world increasingly alienated. Through the emphasis on physical threat, this study asserts the continued relevance of Bond's theatre vision in contemporary debates regarding violence, the audience, and the social function of theatre.