间离效果，又称陌生化效果，是德国戏剧革新家贝尔托特·布莱希特提出的戏剧理论核心。其提供给演员新的表演方式去看待角色，引导观众带有新的思考方式去观看戏剧，反映真实世界与对抗戏剧构建的虚假世界，而非沉浸于叙事中的“情感共鸣”，为艺术实践提供更多表达形式与创作视角。本文通过三个章节层层递进，以布莱希特“间离效果”为基本概念，以中外主流舞剧中第一部从头到尾使用布莱希特体系的现代芭蕾舞剧《阳光下的石头——梦红楼》为切入点，通过对舞剧作品中选材立意、主要人物形象和道具使用的分析，探索间离效果在这一舞剧中的创作应用，从个人视角出发，思考这一戏剧创作手段在舞剧创作中的意义。

The “Verfremdugseffekt”, also known as the Alienation Effect, is at the heart of the theatre theory proposed by the German theatrical innovator Bertolt Brecht. As a means of artistic creation. The “Verfremdugseffekt” provides actors with new ways of performing to see their characters, guides the audience to watch theatrical works with subjective criticism and thinking, reflects the real world and the false world constructed by the confrontation theatre, rather than immersed in the narrative’s “emotional resonance”, and offers more forms of expression and creative perspectives to artistic practice. Through three chapters, this paper explores the application of the “Verfremdugseffekt” as a basic concept, and takes Stones in the Sun - Dreaming of the Red Chamber,the first large-scale modern Chinese ballet to use Brecht’s system from beginning to end in mainstream dance theatre in China and abroad, as a starting point, and explores the application of the “Verfremdugseffekt” in this dance theatre through an analysis of the main selection of material, the main character and the use of props, and considers the significance of this theatrical technique in dance theatre creation from a personal perspective.