在此文中，除了對2006年重新演出的《醮》從事作品論的闡明之外，筆者展開了道家的觀的三重性的理論，將它作為《醮》的「身體觀」、境界美學的哲學基礎，以林麗珍無垢舞蹈劇場為例證，建構舞蹈劇場之東方哲學與修練功夫的理論。 筆者也運用了海德格存有思想與其「四大」說，進行東西思想的跨文化溝通，並將林麗珍無垢舞蹈劇場的身體觀與境界美學，放在東西方當代劇場理論之中，例如布萊希特、Eugenio Barba、高行健的相關討論的脈絡之中，來加以考察。

The performance way of Legend Lin Dance Theatre's Miroirs de Vie (2006) is famous for its marvelous manifest of Legend Lin's aesthetics of emptiness and slowness (空緩美學). What is the relationship between this performance way of Legend Lin Dance Theatre and the Chinese traditional vision of body and cosmos, and how it functions to evoke the transcendental horizon of theatre? It is a question about the construction of the philosophy of the Legend Lin Dance Theatre's Miroirs de Vie. Through the perspective of the Taoist and Buddhist threefold meditation, this article exposits the vision of body and the Jing-jieh aesthetics (境界美學) that is implied in the performance way of Legend Lin Dance Theatre's Miroirs de Vie. This article also compare Legend Lin Dance Theatre's performance way with Gao Xinjian's (高行健) painting and Eugenio Barba's third theatre.