Peter Brook is considered one of the most important theatre directors who forms many of his works based on the idea of interculturalism. His significant role in this area has made him inseparable from the discourse of Intercultural theatre. Unlike many Iranian theatre practitioners and researchers who admire Brook, in the West he has been criticised for adopting colonial and Orientalist approaches. This article seeks to answer two questions: 1) how does Brook’s intercultural theatre work? 2) have his intercultural performances made positive contributions? The article begins with the definition of intercultural theatre as ‘a site for the recognition of cultural values and the reconstitution of individual and community identities’. According to this view, intercultural theatre must avoid personal interests and cultural appropriation in order to conduct a dialogue among different cultures and communities. After defining intercultural theatre, two productions are analysed: Orghast (Brook’s first intercultural work) and The Mahabharata (his most significant production). To answer the research questions, Brook decontextualises his original source material and does not recognise the Other’s cultural values, nor does he help to reconstitute the identities of individuals and communities of his source cultures. This could cause misinterpretations as well as cultural and racial divisions. Hence, despite attracting a large number of audiences, Brook’s works have made negative intracultural and intercultural results.