本論文辯證架構以哲學美學為主。首先闡述「藝術自治」的重要性，接著以「審美界限」的有無，來驗證藝術的存在價值，並且從藝術家與觀眾之間的互動關係，表示觀眾的意向性參與才是劇場藝術的完成。
筆者再藉藝術自治的觀念，檢視前衛運動中的各項演出實驗，討論理性與感性在藝術創作與欣賞的雙向交流裡是一體兩面的，並且列舉前衛運動的劇場實驗比較藝術與非藝術的異同，劃分出劇場藝術裡的觀眾與群眾活動裡的參與者。
本文特別著重於前衛運動中果陀夫斯基的實驗為焦點，並且以審美界限為分類果氏各時期劇場實驗的憑據。因為從藝術自治的發展歷程來說：「質樸劇場」到「以藝術為媒介」的轉變過程，是一種倒轉的現象，此種過程的展現尤其以精神治療的功效特別明顯。
最後試論果陀夫斯基的實務對於現代劇場的影響。以現代劇場的實務經驗說明藝術的享受除了天分與感性之外，也需要理智的判斷能力相輔相成，區分藝術的虛構性和現實的後果性兩者的差異，強調劇場藝術的特殊性。
This thesis is based on the view of philosophical aesthetics. First of all, the author try to expound ‘ autonomy of art ’to emphasize the meaning of ‘ the aesthetic boundary ’in art , and identify the value of art . The author also expresses the spectator’s intention between the actor and the spectator would be the terminal part to the completion of Theatre art.
By that means, I survey the theatrical experiments during avant-garde movement to talk about rationality and perception would be like a body both sides in the communication between artist and spectator. It would be more clear to discover the differences of what’s art or not, even separate the spectator in art from the participator of populace activity.
The article is focused on Jerzy Grotowski’s theatrical experiments to explain that : from ‘ Poor Theatre ’ to ‘ Art as Vehicile ’ is a kind of regression against the development of autonomy of art. Jerzy Grotowski’s theatrical experiments would be classified systematically with the aesthetic boundary to represent Grotowski’s destination is famous for spiritual treatment.
Further, the author also discusses how Grotowski’s theatrical experiments influence the modern theatre. I take several examples from modern theatre art for observation of the enjoyment of art not only relied on gift and perceptual feelings, but also completed rational knowledge. Thus, we could differentiate between the fiction of art and consequence of reality to highlight the specialty of Theatre art.
