Abstract With the transformation of contemporary urban culture and public space, theatre is no longer limited to a closed venue for professional performance, but is increasingly understood as an open and socially engaged cultural space. This study investigates community theatre space from the perspective of alienation theory, and explores how theatrical theory can be translated into spatial design strategies. First, the study examines the origin and development of Brecht’s alienation theory, and discusses its implications for spatial design through the case of Parc de la Villette. Based on this analysis, a theoretical framework is established around structural, spatial dislocation, functional superposition and metaphorical expression. Second, through an investigation of world and Chinese theatre development, the study identifies several major spatial characteristics of contemporary theatre, including openness, symbolism, transformability and technological mediation. Finally, these theoretical and spatial characteristics are applied to the design of the Mulan Flower Women’s Theatre in Beijing. The study argues that community theatre should not be treated merely as a performance container, but as a public cultural platform that supports everyday participation, social interaction and local identity. By linking alienation theory with theatre space design, this research provides a conceptual and practical reference for the design of future community-based cultural spaces.