《如夢之夢》被稱為賴聲川「自我揭露」(reveal himself) 的作品，是他願意運用藏傳佛教的概念，將所關心的事情直接面對面，這對賴聲川而言是種解脫。裡面牽涉到針對創作所抱持的態度與觀點為何？面對生命是在其中追求藝術，或是在藝術中追尋生命？這都是賴聲川長期在藏傳佛教裡修持，所發散出來，表現在其作品中，一個連接更大能量的關鍵。 因此佛法的影響不僅在《如夢之夢》這樣階段性小總結的作品上，在賴聲川早期劇場作品裡已有脈絡可循。道場與劇場不僅只是空間場域的分野，賴聲川並非要在作品裡找到心靈的歸依，但佛法對他的作品毋庸置疑是發想的根基。由早期作品的隱晦暗渡，到《如夢之夢》的直接面對，這一條創作之路的轉折變化，是此論文藉以爬梳釐清，來察覺賴聲川本身如何連結修行與創作，為其作品和生命在劇場裡找到更清楚的位置。

The play A Dream Like a Dream is considered Stan Lai's work of "self-reveal". He is willing to deal with what really matters him in life by exerting concepts from Tibetan Buddhism. To Stan Lai this is a kind of disenthralment. This work contains his attitude and perspectives on creation. Are we looking for art in life, or life in art? This is a crucial point linked to greater force after Stan Lai's long-term practice in Tibetan Buddhism. Not only can we see the strong connection between the temporary conclusion of his creation, A Dream Like a Dream, and the Tibetan Buddhism, but also the influence can be traced in his earlier works. Moreover, Lai asserts that the difference between dao chang (the place where rites are held) and theater is never just on space. He dose not want to find the way that mind is attached to his works, but Tibetan Buddhism is no doubt the groundwork of his creation. In his early works the connection is hidden and gloomy until A Dream Like a Dream directly shows it. This paper aims to illuminate how Stan Lai conjoins his practice in Tibetan Buddhism with his theatre creation, and to find a much clearer position for his works in the theater of Taiwan.