雷曼的后戲劇劇場理論主張通過"美學"介入"政治",而介入"政治"的后戲劇劇場的"美學"目的,是達成反對政治之理性基礎的"越界"狀態,這與當代部分訴諸感性體驗的歐陸哲學是合流的。不妨說,雷曼后戲劇劇場的"政治性"既是"美學"的,也是"哲學"的。在西方思想史上,盧梭對戲劇、政治與哲學之關系的理解相當"另類",為了政治,他罕見地既反對戲劇,又反對哲學,更不用說反對兩者的合流。雷曼與盧梭在戲劇理論上的對決,無疑是"個人主義"與"國家主義"的對決,它們各自揭橥了對方的界限。

The theory of postdramatic theatre articulated by Lehman advocates the intervening of politics through aesthetics,and argues that the purpose of the"aesthetics"of postdramatic theatre is to achieve a"cross-border"state against the rational basis of politics,which is in line with the some contemporary European philosophies that resort to perceptual experience. It can be said that the"political nature"of the post Lehman theatre is both"aesthetic"and"philosophical". In the history of Western thought,Rousseau’s understanding of the relationship between theatre,politics and philosophy is quite"unconventional". For the sake of politics,he is opposed to both theatre and philosophy,let alone the confluence of the two,which rarely happen. The confrontation between Lehman and Rousseau in theatre theory is undoubtedly the confrontation between individualism and nationalism. They reveal each other’s theoretical boundaries.