| BertoltBreeht (1898 - 1956) is a world-renowned German dramatist and drama theorist of the twentieth century. As one of the outstanding representatives of modern German literature and art, he wrote a large number of plays, poems, novels and drama theory in his life. His " verfremdungs effect " theory influenced the development of modern stage arts and helped the modern stage arts show varied forms of expression. Breeht period becomes a major turning point in modern stage arts process and brought certain influence for the development of drama after BreehtBefore Breeht, the traditional "the three unities" were dominant in theory, the "performance time and the time for action must coincide with each other... ... the plot of action must be fixed", its rigid, inflexible, imitational forms limit the development of space and prevent the audience from thinking rationally. The later reform movement appealed for "assumption" nature of art and put the artistic image with its natural patterns of life into the application of stage art. After Breeht, he thoroughly developed the "assumption" nature by formal stage form and formed their own " verfremdungs effect " theory from the motivation of social phenomena.The theory comes from Shklovsky's " defamiliarization " theory. "To make an event or a Characters unfamiliarized means simply stripping of a matter which is reasonable, well-known and obvious from the event or Characters, thereby creating a shock and novelty of it. " From the perspective of social criticism, Breeht understood life and reflected the life, advocating that play should appear in a strange, unfamiliar way, namely breaking the "unities", with " effect of defamiliarization, " suggesting to the people:"There is nothing that is unchanged, exclusive and unbreakable, not only can change the world, but also should be changed. " So that the audiences turn from passive acceptance into a proactive, critical observation, through the variable reality showed in drama, they can change society, re-affirming the great freedom of culture recast in the field of modern theatrical. This proposition of diversity replacing the whole, such a critical spirit and self-denial, are the most important asset left to the world stage by Breeht.This paper is divided into four parts. The first part is the introduction of "assumption" phenomenon in modern art. Through the introduction of "assumption" phenomenon and its characteristics: aesthetic, modernity, individuality, and theater, the author found the conjunction point between assumption and verfremdungs effect which can be drawn to a conclusion that assumption phenomenon existing in verfremdungs effect. The second part concentrates on Brecht "verfremdungs effect " theory, you can see these four aspects of the internal logic and structure, which are the breakthrough in anti-form, the display of the form, a variety of means and interactive space, in the modern stage from the perspective of "verfremdungs effect. Since the " verfremdungs effect " theory of modern theatrical arts has an impact, then it will certainly guide the artistic creation of modern stage. The third part indicates the meaning of" verfremdungs effect " theory to the modern stage art through the inner " language verfremdungs " and external "logical verfremdungs " as well as inner "rational criticism" with external "ugly position". The fourth part is the theater performance after Breeht, by declaring the theatric characteristics of Durrenmatt, Sartre, Beckett we can see their development and difference to Breeht. Finally, the conclusion is the artist should take a degree about the creative methods in the modern stage. While innovation and defamiliarization connecting spiritually, if blindly pursuing new innovations and neglecting artistic meaning and contents, these two aspectscan't understand and communicate with each other. The creation of art would become mechanical and dogmatic; the "beauty" is unacceptable for the audienceand therefore lost its value.
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