Martin Crimp's ≪Attempts On Her Life≫ is considered a representative work of a “Post-drama” that criticizes the vice of capitalism and the illusion of consumerist culture. The prominent feature of ≪Attempts On Her Life≫ is the lack of conventional plot and characters, which causes difficulty in attracting the audience. In spite of the distinct structure of ≪Attempts On Her Life≫, the researcher undertook the reconstitution of the work because the clarity of the subject and the absence of a traditional plot and characters can bespeak a clarity motif and enlarge expressions. There are previous studies that have been conducted on the “Post-Epic Theatre” to overcome the limitations of post-drama. In order to overcome the limitations of post-drama, this production is aimed to enhance the overall performance of ≪Attempts On Her Life≫ by exploiting a Post-Epic Theatre format effectively. This involved (1) the assignments of plots (drama) and roles (character), (2) role playing with simultaneous immersion and alienation, and (3) encouraging active audience participation by addressing social issues. There have already been several studies in Korea about the choreography of a Post-Epic Theatre and analyzed the process of role creation of Post-Epic Theatre productions, but there has been no research focusing on the process of the role creation specifically in adapting of post-dramas for Post-Epic Theatre productions. Therefore, this paper aims to identify the Post-Epic Theatre characteristics inherent in the post-dramatic text of ≪Attempts On Her Life≫ and examine the Post-Epic Theatre acting methods applied. Post-Epic Theatre is a brand-new concept that aims to build upon Brecht's epic theatre techniques simultaneously to overcome the limitations of Post-dramas. The production of Post-Epic Theatre involves both “Reproduction” and “Existence” to create a cohesive work. The reinterpretation of ≪Attempts On Her Life≫ also has unique characteristics of both “Reproduction” and “Existence” remarkably, which can be interpreted as the coexistence of Mimesis and Diegesis. The researcher analyzed the scenes and characters in ≪Attempts On Her Life≫ by pertaining the Mimesis and Diegesis concepts to better understand how the concepts influenced the whole work. Based on the analysis, the researcher regarded the acting methods used in the production and found that utilizing the Gestus method, a technique used most in Brecht's epic theatre, was felicitous. Above all, utilizing Gestus method can induce the epical space which maximizing the effect of the Gestus technique as integrating it with physical acting. Especially, the production aimed to create a character that enhance the actor's phenomenological materiality by utilizing “Temporality,” “Corporeality,” and “Tonality” in Erica Fisher-Lichte’s Theory. The final purpose of the Post- Epic Theatre is to derive the audience’s reaction through continuous communication with them. The researcher developed the Gestus method in order to encourage audiences to engage actively the performance, which induce their own interpretations and lead to a transformative experience. Ultimately, the main goal of this paper is to demonstrate the acting method in Post-Epic Theatre utilizing the Gestus method, from Brecht's epic theatre, through the production process, as well as exploring methods to interact with audience in discussions of social issues during the performance.