20世紀重要的反寫實主義（anti-realism）劇場大師貝爾托．布雷希特（Bertolt Brecht, 1898-1956）以「疏離效果」（Verfremdungseffekt）提出一個新的戲劇形式，倡導觀眾在觀賞演出的同時，應存有自我意識和自我為主體的認知下，對所觀看之作品保有當下的思辨與評判。
布雷希特提倡戲劇革新的同時，各種形式藝術的改革前仆後繼而來。1960年後「後現代主義」（Postmodernism）的興起，舞蹈藝術結合了各類藝術領域人才共同創作演出，以即興、偶發、機率等概念引入舞蹈具體實踐，進而衍生出「後現代舞蹈」（postmodern dance）。
本文以布雷希特提出之「疏離效果」理論，解析舞蹈作品《昨日物語》中生活經驗所帶來較為感性和意象的感受，並透過疏離效果的反問與對立思考，理性轉換成為可創作的媒材，打破作品與觀眾的無形距離，找到生活與藝術共進，成為創作的契機，讓藝術始於生活、貼切生活、回歸生活的初衷。
The important anti-realism theatre master of the twentieth century, Bertolt Brecht (1898-1956), proposed a new form of drama with the “Destination Effect” (Verfremdungseffekt), advocating audiences to watch performances. At the same time, under the perception of self-consciousness and self-subjectivity, there must be current speculation and judgment on the works they are viewing.
After the rise of postmodernism from 1960, "dance" combined with various fields of art to create and perform. In the field of art, the concept of improvisation, “happening”, “chance”, etc. was introduced into the specific practice of dance, and then "Postmodern dance" was derived.
This research base on the theory of alienation effect proposed by Brecht to analyze the feelings and imagery brought by life experience in the work of ” Yesterday’s dialogue”. Through the alienation effect, the creative media can break the intangible distance between the work and the audience , which allowing art to begin with life, affix life, and return to the original intention of life.
