本文首先約略交待高行健的藝術背景，然後進入主要的討論：他所提出來的「表演三重論」，就是一個表演者如何「從生活中的人」進入「演員」、又如何進入他所扮演的「角色」，以及如何利用「第三隻眼」進出於「演員╱角色」的微妙關係。本文一方面追索他這種理論的發展過程－如中國傳統戲曲和西方現代大師布雷希特等等對他的影響，一方面以他的「創作法」（角色進出於第一人稱與第三人稱）和作品，來印證他如何把他的理論付諸實行。最後對他的戲劇語言的特質加以簡單的探討，綜結高行健在戲劇方面的成就與尚待追求的地方。

　　　　　The paper begins with a very brief introduction to Gao's artistic background, then advances to the discussion of his theory: "triple-stage or -level of acting," that is, how does an ordinary person transform himself into an actor, how does the actor get into a character, and, then, how does the actor go back-and-forth between them. The secret, according to Gao, lies in the use of the third eye. He tries to materialize his theory by making his characters speak sometimes in the first-person point of view, sometimes in the third-person. The last part of the paper deals with his art of language. The paper attempts to see the achievement of his drama and also tries to suggest what he might do in the future.