本文以「劇場藝術學」的系統理論為基礎，並主要採用耶斯納的論證來區分「政治劇場」與「黨派劇場」的差異。耶斯納強調不可將「政治劇場」與「黨派劇場」相互混淆，因兩者在內容、手段與目的上有實質的差異：「政治劇場」是「一般上表達時代的劇場，引用世界觀的手段為藝術的最終目的，社會改革只是可能的後果」；而「黨派劇場」是「受限制的黨派意識劇場，引用藝術手段以實踐黨派的程序，社會改革是特定的先決條件」，故「黨派劇場」是假「政治劇場」之名，行黨派傳聲筒之實。以此論點檢驗之，中國文化大革命之「樣板戲」實為「黨派劇場」。歷史證明，「政治劇場」達到藝術自治（＝專業）水準的整體藝術成就，必高於完全將藝術作為服務非藝術本身目的之手段的「黨派劇場」，結論出劇場藝術永續發展的大計，勢必建立在藝術自治的基礎上！
This thesis is based on system theory of “Science of Theatre Art,” and mainly adopts the dialectic debate of Leopold Jessner to distinguish the difference between the “Political Theatre” and the “Party-Theatre.” Jessner stresses that we shouldn’t confused the “Political Theatre” with the “Party-Theatre,” by reason of the tangible difference in the contents, means and purposes of the two. The “Political Theatre” is “the theatre that expresses the times, making use of the means of Weltanschauung on the final purpose of art, and the reformation of society is only a possible consequence on it. However, the “Party-Theatre” is “the theatre with the restricted party’s ideology, taking advantage of artistic means to practice the procedure of party, and the reformation of society is the specific precondition on it. Therefore, the “Party-Theatre” is just in name of the “Political Theatre” for another purpose that disseminates the party’s ideas. By this point of view, the Model Operas of Chinese Cultural Revolution is the “Party-Theatre.” History proves that the “Political Theatre” which attains the objectives of the autonomy of art（=professional） by the aesthetic rules, must surpass the artistic value of the “Party-Theatre” which totally regards art as the means to be in the service of non-artistic intentions. Consequently, the matter of fundamental importance that the theatre art develops permanently must be based on the Autonomy of Art!
