劇場表演不只是美學風格的呈現，更是一種生活哲學的具體實踐，體現出舞團特殊的價值與信念。以無垢舞蹈劇場年作品《觀》從排練至演出的整個過程作為研究對象，首先透過舞作分析試圖從劇場研究的角度釐清無垢美學隱含的真實信念，接著透過方法的考察了解美學背後排練的技術問題與舞者的劇場訓練。最終企圖建立起「真實信念」、「劇場訓練」、「自我技術」之間的關聯佳，試圖去理解表演者的「自我」是什麼？「自我」如何透過劇場訓練形成？「自我技術」與其實、真理、主體之間有什麼關條？劇場美學的部分借用Power提出的兩種「臨在」 (presence)：虛構式與靈光式臨在，分別對應Stanislavsky與Grotowski這兩個劇場導演的其實信念，透過他們的實作找尋理論與實踐的交匯，去建構一種討論劇場臨在的方式。生活哲學的部分則透過Foucault對真理的兩種觀點去勾勒舞團生活的不同樣貌，也將劇場訓練從真實美學擴展成生活中的「真理」。宏觀層面的真理意味著舞團運行的方式與原則，追尋微觀層面的真理則是舞者探索表演的摸索過程。前者透過田野調查理解舞團排練的過程、後者則透過訪談關注舞者自身的體驗，最終試圖了解主體剝除或形成的不同想像。

This article takes theater performance not only as aesthetic presentation, but a philosophy of daily life practice, which embodies values and believes of the corresponding dance company. Focused on Legend Lin Dance Theatre's work ＂Song of Pensive Beholding,＂ my research project examines the piece from rehearsal to presentation. First, through dance analysis I want to look into the belief of truth hidden in Legend Lin Dance Theatre’s aesthetics of presence. Then, through examining the methodology I want to reveal the process of rehearsal and the techniques of performing in this piece. Finally, I try to build up the connection between ＂belief of truth＂, ＂theater training＂, and ＂technologies of the self＂, in order to answer questions like: ＂What is the self of a performer?＂ ＂How is the self formed through theatrical training?＂ ＂How is this technologies of the self related to subject and truth?＂