According to Hans-Thies Lehmann it is impossible to think of postdramatic theater without the necessary steps that Brecht took. Given his strong emphasis on the narrative, Brecht is not postdramatic, but his theories about Verfremdung, Gestus and audience are groundbreaking steps towards postdramatic theater. Several theorists have already analyzed the relation between Brecht and postmodern/postdramatic theater (Badiou, Barnett, Fuchs, Jameson, Varney, Wirth, Wright). Barnett argues that it is impossible to combine Brecht with the postdramatic after analyzing a couple of productions that have tried this. The reason for their failure is seen in the problem of representation. In contradiction to this assumption I will argue that a postdramatic production could indeed reactivate Brecht’s theories and strengthen their possible effect. Brecht remains a stranger in the encounter with postdramatic theater (another stranger in a theater culture that is still dominated by dramatic plays and psychological realism), but the meeting between these two strangers can be fruitful. In this contribution I analyze the production of Fatzer at Deutsches Theater, Berlin directed by Tom Kühnel and Jürgen Kuttner in Berlin in 2016.