本文由劇場藝術學（德文：Theaterwissenschaft, The Science of the Theater Arts）的視野來剖析布萊希特劇場理論，得出不同以往的研究結果，確定其重要貢獻在「觀看藝術」，這不但為藝術理論中的濫觴者，亦為其理論和實務的基層。演員以觀察、示範和批判角色取代傳統亞氏劇場演員的化身於角色之中，製造氣氛，引發觀眾的濫情，同時進入幻覺狀態。與此革新之演員藝術相呼應的是「觀看藝術」，觀眾在劇院內養成觀察和批判的態度，才會產生劇場內交流的整體，踏出了劇院，觀眾不但以此態度改革社會，且可維護國家社會安全。
I would like to analyze Brecht's theory of theater in light of the science of theater arts (Theaterwissenschaft). New findings confirm Brecht's most important contribution to theater has been “Zuschaukunst” (the art of spectators). This is not only a theory on the origin of art, but also includes the basis of his theory and practice. Role observations, demonstration and critiques of actors replace the traditioinal Aristotelian theory of theater. In this way, the audience can identify with the actor's roles and fall into a state of illusion. This revolutionary theatrical experience is thus termed “Zuschaukunst”. An intra-theatrical transaction emerges when an audience starts to observe and criticize. This attitude helps the audience reform society and preserve national security.
