臺灣現代劇場的「身體」如何在劇場中被看見, 成為一種表現的載具(vehicle),七○年代在臺灣現代劇場猶未形成議題。「身體」在舞臺上的表現性(expressive),歷經七○到九○年代的變革,從蘭陵劇坊的初步實驗,到陳偉誠、劉靜敏自承葛羅托斯基(Jerzy Grotowski)的訓練,返臺後分別成立「人子劇團」與「優劇場」,以身體技術的訓練去真正揭露自己內在的真實,並面對自身一切相關內涉性的探討與研究,進而達成一種實踐。正逢八○年代末期興起的「本土化」運動,促使劇場內在的轉向,朝著追尋自我的方向前進,一時之間,各劇團的演員訓練在臺灣本土化熱潮中,竭盡所能的學習臺灣本土的傳統技藝、儀式與身體的築基方法,田啟元所領導的「臨界點劇象錄」,對身體的持續探索與創作,精神上亦是致力於關照自我(the Care of Self)技術的實踐。
How 'Body' to be seen in Taiwan modern theatre has become a performance vehicle, this issue formed 1970s Taiwan modern theatre still unknown. After 70's to 90's changing', Body' in the arena of expressive by Lanling Theater Troupe from preliminary experiments. And Wei- Cheng Chen, Jing-Min Liu captured Jerzy Grotowski's training, after returning to Taiwan, respectively, they established Zen-Tze Theatre Laboratory and U Theatre. Their technical training to the body is to really expose their inner truth and face their own involving all relevant internal research, thus reaching as self-cultivation practice. Coincided with the rise of the late 80's 'localization' campaign, to promote theatre inner steering, forward in the direction toward the pursuit of self. Suddenly, the theatre actor training in Taiwan localization boomed and tried everything they can to learn Taiwanese traditional skills, rituals and body building base method. Chi-Yuan Tien headed Critical Point Theatre Phenomenon continued exploration and creation of the body, spiritually also committed to 'the Care of Self' technology practice.