傳統戲曲的身段之美，是這門古老藝術最迷人的審美焦點之一。自古以來演員以不變的程式再現種種悲歡離合，形成一種獨特的劇場美學。但是，在這些優美卻制式化的表演背後，不禁令人想問：「為什麼對需要創作空間的演員訂定如此多的身體表演規範呢？」 身體是權力的目標與對象。在大眾傳播工具尚未發明的時代，傳統戲曲可說是重要的教化工具之一。既然被賦予教忠教孝的重任，出身底層社會階級的演員身體自然必買被嚴格規範，才能成為符口儒道思想，尤其是持戲曲風化的儒家思想的「理想的身體」。因此，本文想要探討的是，演員的身體在改造為「理想的身體」的過程中，權力是如何運作與內化，使位居社會邊緣的演員身體能承擔起教化的責任。正如傅柯所說，重點不在權力是「什麼」，而是權力「如何」施行，演員的身體如格在儒家的「規範」觀及儒道互滲的道家「養生」觀中，對身體施以全面的自我管理，以達到最佳的身體狀態。這不僅是一種身體美學，更是身體的政治。

The formulation of performance on actor’s bodies is one of the most charming aesthetic points in traditional Chinese theatre. However, it is still an interesting question to ask “Why are there so many formulas and regulations of bodies given to the actors who should have more space to show their creativities?” During the time when mass media had not exist yet, dramas were viewed as important governmental tools for the regime to propagandize the rules and ethic dogma to the citizens. Thus, actors’ bodies should be trained as the “ideal bodies” to meet the demand of the rulers. As Foucault said, it is “By what means power is exercised.” That matters instead of “What power is.” In this article, I will discuss how the state machines internalize their norms into the theatre and influence the type of the performance. It is not only the art of bodies, but also the body politics.