這篇文章分成兩部分來闡述無垢舞蹈劇場的劇場美學在台灣當代藝術發展的特色，筆者認為林麗珍提出了融合台灣本土以及「非傳統西方」宗教感的非空之空、非緩之緩的「整體化」宗教美學。第一部份闡述一九八零年後期起，台灣當代藝術所面臨的時代議題：「主體性」的認同歧路、「整體化」的混沌與「拼貼」的意義不確定性、「本土化」的解放與焦慮、尋找「東方」的身體觀。第二部份從前述的脈絡中，闡述無垢舞蹈劇場如何透過以下特色展現出有別於台灣當代劇場美學的趨勢：非緩之緩，非空之空，「整體化」與「再一次」、道成肉身的流轉、以及承擔與解脫。

This article interprets how the Legend Lin Dance Theatre creates a new aesthetics of ritual theatre in contemporary art history of Taiwan. The article contains two parts. The first part describes the mainstream of contemporary Taiwanese art since late 1980s, including the labyrinth of subjectivity, the totalized chaos and the ambiguities of Montage, the liberation and anxiety of Taiwanization, and the illusion of “the oriental body”. The second part explains how Legend Lin creates a new aesthetics different from the mainstream by the following aspects: emptiness without emptiness, totalization and “once again”, incarnation and contemplation, and commitment and nirvana.