本文的目的在於以詮釋現象學的方法，嘗試揭露心理劇「自發性」的經驗結構。本文的臨床操作是在心理劇治療場境中選取具自發性經驗的輔角五位，在心理劇治療過後，請輔角對其作為輔角的經驗進行經驗描述，而獲得經驗描述文本，研究者並以李維倫與賴憶嫺（2009）提出之現象學分析方法針對經驗描述進行資料分析。本研究結果有二個發現，一是自發性經驗現象具有兩個行為向度，一是縱向聯繫作用：話語—身體感受，一是橫向聯繫作用：人際語言、非語言行動。在心理劇場景中，輔角受到心理劇場景設置的效果，或透過擬態扮演，或是在心理劇場景中與主角的互動對應中，輔角內在會經驗到自身身體、心理的感受，或是有想說出的話語，而輔角如果能據此身體感受對主角以語言及非語言行動進行適當的回應，此即是自發的經驗歷程。二也發現自發性經驗現象中，身體感的生發與表達是輔角自發及創造的關鍵因素。透過本研究，我們有機會從心理劇輔角的經驗，解明自發性經驗的現象，藉以擴大並充實心理劇治療的理論。

This study aims at revealing the experiential structure of spontaneity in psychodrama using a phenomenological method. Five participants with the experience of being spontaneous auxiliaries in psychodrama were chosen and invited to describe their experience. Phenomenological analysis (Lee & Lai, 2009) was applied to the descriptions of experience. Two main findings were obtained. 1. The experiential structure of spontaneity in psychodrama consisted of two dimensions of behaviors. One was the vertical dimension, indicating the words-bodily feelings connection, and the other was the horizontal dimension, indicating the interpersonal verbal and nonverbal communication. Through the scene-setting, playing the role, or interacting with the protagonist, the auxiliaries in psychodrama came to experience psychological or bodily feelings and they might also feel urgent to speak out the experience in interpersonal realms. The auxiliaries experience themselves as being spontaneous as they can express what they felt bodily and psychologically. 2. In the experiential structure of spontaneity, the experience and expression of bodily feelings were the key. Through this study, various significant features regarding spontaneity in psychodrama were clarified.