《茶馆》是中国话剧史上的扛鼎之作。它具有深广的思想内涵和高度的审美价值，通常被认为是中国现实主义话剧的高峰。本文则以布莱希特之戏剧观重新审视《茶馆》，分析其具有的叙事剧特征。“间离”是布莱希特叙事剧理论的核心，体现在剧本结构、导演处理、舞美手法、音乐处理、及表演方法层面。布莱希特有意识地使用间离手段以唤起观众对剧中事件与人物的批判性思考；老舍先生则通过追求现实主义而使剧作达到了间离效果。《茶馆》也让人们看到，中国古老的叙事传统和传统曲艺蕴含着跨越国界的现代性。

Tea House is one of the most impressive works in the history of Chinese drama. It has profound connotations and high aesthetic value, and is usually regarded as the peak of Chinese realistic theatre. This paper re-examines Tea House with Brecht's aesthetic theories and analyzes its characteristics as an epic theater. The key to the epic theater theories is estrangement, which is broadly applied in the aspects of playwriting, directing, stage setting, music application, and acting. Although Lao She never consciously applied estrangement techniques, estrangement effects appear in his masterpiece. Tea House also shows the modernity of the narrative tradition and the flexible structure in Chinese Opera.