自1990年後，台灣戲劇史學者開啟，以台灣為主體論述的—台灣戲劇史研究，戲劇活動應著生活和社會而生，因此，台灣戲劇研究需要追本溯源，建立台灣戲劇史的真實林相。1987年解嚴以後，台灣的戲劇活動不再成為政府的附庸，舉辦「實驗劇展」促使小劇場團體如雨後春筍般冒出，是社會開放下的竄出的反動力量，小劇場以顛覆社會價值觀而聚合，其中，自1980年代末期崛起，橫跨至1990年代的臨界點劇象錄是為異數。
臨界點劇象錄的作品以獨特的美學，突破當時劇場作品的禁錮，從成團至解散，分為兩個時期：前期，由田啟元主導劇團整體風格的走向；後期，以開放式的經營理念，持續追隨田啟元的精神。本文列出兩個時期的作品，將其分類並爬梳作品的創作緣由，藉此分析1990年代的小劇場團體，聚集與散去的集體現象。
Since 1990’s Taiwan’s drama historiography opens and take Taiwan as the corpus to discuss of-Taiwanese drama history research, the drama activity should along with life and society , therefore Taiwanese drama research needs to make tracks for originally trace to origins, build up a true of Taiwanese drama history. After 1987 lift a curfew, the drama activity of Taiwan no longer becomes the governmental political satellite and hold"experiment play"exhibition urges of the little theater group grow profusely and quickly a sort to come out, as mushroom like bamboo shoots after a spring rain, little theater with subversion social value , Critical Point Theater Phenomenon grow from the end of 1980's, cross into the 1990's to record especially.
That the Critical Point Theater Phenomenon to break through traditions theater notion at that time, from the conglobation to dismiss, was divided into two periods. Before expect, by trend of Tian Chi-Yuan the predominant play regiment whole style;Behind expect, with the principle of open type management, continuously follow the Tian Chi-Yuan spirit. This text lists two parts of periods and categorize Critical Point Theater Phenomenon the creations reason, thereby analyze the little theater in 1990's, gathering with spread of collective phenomenon.
