本文作者認為,后戲劇是當代藝術一種極具創造性的合理表現形式,與媒體時代其它領域的文化藝術發展相呼應。他指出了人們對這個術語的某些錯誤看法,把密切演員與觀眾關系的愿望解釋為后戲劇美學中一個深刻的母題。他還闡述對幾個普遍問題的思考:關于人的某種"戲劇"觀念的逐漸消失,藝術作品受觀眾歡迎的程度與其對未來藝術發展影響的區別。他舉例闡述了后戲劇寫作中優秀品質。最后,考慮到所有對當代藝術創新感興趣的人們都在同一條船上,他提出一個較溫和的觀點:盡力去呵護那片逐漸縮小的真正美學經驗的領地。

The author insists that postdramatic theatre is a highly productive and legitimate form of contemporary artistic expression,in tune with other aspects of cultural evolvement in the age of media.He points out certain misconceptions of the term and explains as one of the deeper motifs of postdramatic esthetics the wish to deepen the relation between audience and players.He adds some more general reflections:on the gradual disappearance of a certain "dramatic" view on man;on the difference between success of art with the audience and its impact of art on the future development of art.He gives examples of literary excellence in postdramatic writing.In the coda he argues for a less polemic style of debate given the fact that everybody interested in truly contemporary and innovative art practice finds himself in one and the same boat:defending the shrinking terrain of genuine esthetic experience.