This paper proposes to discuss the dialectic of experimental theatres along the parallel line of Artaud's theatre of cruelty and that of Brecht's epic theatre and then in search of the metaphysical foundation of the contemporary theory of theatre action. The first subject of this paper is to point out the dialectic traits of Artaud's theatre of cruelty. The aims of his searching for a pure theatre with its own language and value as reveals in the dance of Bali island. The second subject of this paper then is to point out the dialectic traits of Brech's theatre dialectic rather that of epic theatre as he points out in the later stage of his life. According to the two set-out points of the modern theatre movements all have the dialectic traits that reveals in Artaud and Brecht, we can see that the ontological theory of theatre with value reversal aport a general index “non-Aristotle”. One current in the formalistic orientation of the new theory of theatre performance is that of semiotics of theatre in the forty years, the prague school structuralists. We resume the ontological “theatre action” theory as texts mentioned above. In concering the criticism of theatre, there is also an transition from drama ontology to theatre ontology as revels in controversial conference of Yao's “Three questions”, Ma's "Detail Reading" and Huan's “reconsideration”. The conclusion is that it is necessary to speculate the ontological foundation of our theatre that is emphasized on mise-en-scene and metaphysics, our theatre tradition already has its transportation of sublime value, as reveals in the tragic tradition of "Pei-Guan" and the "Misery play of crying-tune" in Taiwan Opera.