本文研究對象為布雷希特的史詩劇場，研究方法以此對象為主縱軸起點，再向上溯源至古希臘、印度與中國，然後順此而下橫向搜尋相關理論回到現代，試圖發掘史詩劇場理論核心。主要研究問題為「史詩」與「劇場」兩者之間的關聯性、兩者在歷史上的衝突，以及布雷希特如何協調兩者，進而成為影響表演藝術深遠之理論。研究結果擬以尼采的阿波羅（史詩）與戴歐尼色斯（劇場）二元性相互交融於舞臺上，來解釋布雷希特的史詩劇作藉此二元的對立性，引發觀眾辯證，不僅獲得戲劇娛樂，也學習有用的社會知識。因此，建議現代劇場已慣用的「群眾參與」技巧，應以讓觀眾「學習新知」為目的，以幻覺劇場為基石，輔以疏離效果（V-effect），讓劇場進化至增進自我（演員與觀眾）的客觀知識，進一步得到改善社會的新思惟，獲致更高的喜悅。

This research focuses on Brecht's Epic Theatre and its role in modern drama, as well as its sources in ancient Greece, India and China. This historical examination is necessary to understand what should be regard as the “core theory”--the V-effect (Verfremdungseffekt or Alienation)--of Brecht's Epic Theatre. Further, the relationship between “Epic” and “Theatre will underlie the main questions of this essay: How did both conflict in drama history? How did Brecht harmonize both so that “Epic Theatre” has become an influential theory in the contemporary performing arts? This paper uses Nietzschean theory to examine the relation between “Apollo” (Epic) and “Dionysus” (Theatre). It shows how, in Brechtian theatre, both “epic” and “theatre” interact and intermingle on stage in a way that, it is argued, allows spectators access to a fuller, a more complete and useful, experience than Aristotelian theatre. Contemporary theatre, I shall argue, should aim to provide audiences with “useful and dialectical knowledge,” which is based on both Aristotelian theatre (illusion) and Brecht's V-effect18 and which thereby encourages audiences actually to participate in theatre. This will not only advance the actor's and the spectator's knowledge, but will also achieve the “higher delight” and might even, conceivably, help improve society.