二十世紀末，東方身體逐漸被西方劇場舞蹈所看見，間接的激發了臺灣劇場舞蹈東方體熱的興起。這股風潮的脈絡，向來與台灣社會長期積滯的政治氛圍、文化生態息息相關，顯見，近年來東方體熱的現象，已使得身體失去作為舞蹈表達主體的純粹性。基於此，本文主要的目的在藉由舞蹈身體的隱喻，揭露純粹舞蹈身體的特質及其存有經驗的豐富性。經由舞蹈身體隱喻的揭示，我們發現純粹舞蹈身體具有原初的∕有機的、原動的∕創造的、淨化的∕冥合的、想像的∕反身的、書寫的∕閱讀的等五個特質。也由於純粹舞蹈身體蘊涵以上特質，因此，只要舞蹈身體回返「前身體」的純粹性，以身體最原初的狀態與具體環境進行肉身對話，那麼純粹舞蹈身體即能深度開展我們創造的、超越的、淨化的、深化的、轉化的、體道的生命經驗。

At the end of the twentieth century, a trend which was inspired by the concept of "Oriental Body" in the western theater dance had, directly, stimulated the rise of "Oriental Fever" in local theater dance field. This trend seemed inevitable since it was widely held that "nativization" had been viewed as the solution to the long stagnated political atmosphere and cultural ecosystem here in Taiwan. As the result of this latest trend of the feverish pursuit, it is obvious that we no longer see the implementing of body the main and/or only vehicle in dancing representation. In the light of this dramatic shift, the author intends to use metaphors derived from dancing body to expose the characteristics and richness of dancing body in terms of Chuang Tze's views of body. By means of the implications of metaphors derived from the dancing body, we can discover that the so-called "pure" dancing body poses characteristics of being primitive but organic, original while creative, purified but in union with outside world, imaginary and reflective, and writtenly and readable. It is also because of these characteristics, one can, therefore, open the path of an in-depth journey into most creative, uppermost, purified, intensive, transformational, fulfilling realization of life and its experiences through the return to the pre-body and by ways of conducting the dialectics between pure and fleshly bodies.