本文試圖從高友工先生「中國戲曲美典」的架構詮釋傳統的務頭觀，首先我們試圖將務頭區分為劇場性、戲劇文學性的美感理念性三種性質，並討論務頭在現在現象學美學下的意義，接著我們討論在戲曲審美經驗當中的審美時空和物理時空的關係，並找出戲曲抽象符號的空間模式作為討論時間性的基礎，最後我們討論戲曲審美的雙重空間性作為鞏國戲曲獨特之特質。

Employing Prof. Gau Io-Gong’s Chinese Theatrical Aesthetics〈中國戲曲美典〉as the skeleton, this paper purposes to re-interpret the concept of U-Tou (務頭). Firstly, I attempt to analyze U-Tou from three aspects, namely theater, drama, and aesthetics, and discuss how they correlate with Phenomenological Aesthetics. Secondly, within the context of the theatrical aesthetic experience, I examine the relationship between the aesthetics state and physical state under the effect of certain spatiotemporal factors, and seek for the spatial model of the abstract theatrical signs, which are the basis of the discussion of temporality. Last but not least, I give a brief account of the dual spatial character, which is the uniqueness of Chinese theater.