Somaesthetics, as a new philosophy, was proposed by Richard Shusterman, American pragmatist philosopher, in the 1990s, against the metaphysics of ideas and the classical "mind-body" dualism in the Western philosophical tradition. Somaesthetics claims to have returned to "soma" and restored legitimacy to "sensory appreciation" in the tradition of Western aesthetics. Inspired by the idea of ​​"philosophy as an art of living", pragmatism, the ancient somatic traditions of other cultures (especially Eastern traditions) and modern Western psychosomatic therapeutic methods, somaesthetics has built its foundation on improving the body (as the center of sensory appreciation) and creative self-healing. Somaesthetics has gone beyond the field of aesthetics and engaged many fields of knowledge, opening a wide field for collaborative, interdisciplinary and transcultural research. Due to its special approach to the body, somaesthetics has received wide attention not only in contemporary theatre, but also in arts that do not seem to have a close relationship with the body. The present article is written in a descriptive-analytical method with the aim of studying the results and consequences of the spread of somaesthetics and its representative approaches in contemporary theatre. The main question is "What are the major consequences of spreading somaesthetics and its representative approaches in contemporary theatre?". The findings of this research show that the expansion of somaesthetic awareness and the embrace of approaches that are defined under somaesthetics, have facilitated: 1. a conceptual shift in the elements of theater (in line with the proposal of a somatic perception shift), 2. the strengthening and multiplying of psychophysical theatrical patterns, 3. a paradigmatic change in theatre education patterns, 4. the reinforcement of the connection between theater and other fields of knowledge and 5. the interaction between the body and new technologies.