亞理斯多德說，戲劇所模仿的對象是「行動中的人」。前衛劇場打破古典表象關係，就是要使演員和觀眾跳出舞臺的框框，直接成為「行動中的人」。但這個「沒有表象的行動者」最後究竟何去何從？吾人將透過德勒茲的兩個行動論題：Ⅰ.打破表象並不等於直接的行動參與，而是行動崩潰的危機與思想的無能，但也向某種「精神的自動性」開放。Ⅱ.美學的「感動」不是行動，而是純粹的呈現與冥思－重新探索臺灣前衛劇場運動的「行動者」從社會政治之「抗爭」中掘起，而逐步轉向「儀式」與「修行」所畫出之隱退消失的逃逸路線。

　　　　　Aristotle said:“The object that the theater imitates is the man in action.” This is the objective why the avant-garde theater undoes the classic representation-relation: to get the actor and spectator jumping out of the frame of the stage, in order to become immediately a 'man in action'. But this 'actor without representation', where is he going finally? We try to find his way through Deleuze's two themes of action. Ⅰ. Undoing the representation does not mean a direct participation of action, but rather a crisis of the collapse of action and impotence of thought, however, maybe also an opening towards a certain 'spiritual automat'. Ⅱ. Aesthetic sensation is not action, but pure presence and contemplation. Accordingly, we re-study how the 'actor' in Taiwan avant-garde theater rises from the social-political struggle, and then turns gradually to the ritual and the exercise, in drawing a line of flight towards the horizon of withdrawing and disappearing.