在对唯物辩证法的使用中，布莱希特试图实现戏剧介入的效果。这使布莱希特的辩证法既是认识论的，又是方法论的。他没有解释观众如何从间离效果中必然得到具有介入价值的认识，因而在具体戏剧实践中造成了混乱。阿多诺因此认为，布莱希特的观众无法同时获得辩证思维和对现实本质的认识，进而否定其戏剧介入的可能性。阿尔都塞仅将辩证法视为方法，指出戏剧介入中辩证法的作用在于改变观众看待现实的位置，让观众认出自身意识形态的条件性。姿态在本雅明处成为认识论与方法论之间的中介，带来辩证意象式的认识方式，观众从而获得了对历史的真理性、永恒性认识。

Brecht attempted a materialistic dialectic for dramatic intervention. But this makes Brecht's dialectic both epistemological and methodological. He did not explain how the audience could derive any interventionist value from the effect of "disassociation". This has led to confusion in theater practice. Adorno thus argues that Brecht's audience is unable to acquire both dialectical thinking and knowledge of the nature of reality, thus denying the possibility of intervention in Brecht's theater. Althusser sees dialectics only as method, noting that it serves to change the position in which the audience views reality, allowing them to discover the ideology and its conditions in which they find themselves. The gesture becomes at Benjamin an intermediary between epistemology and methodology, which brings about a dialectical-imaginative way of knowing, from which the audience gains a truthful, timeless understanding of history.