從「被壓迫者劇場」進入「立法劇場」，Augusto Boal（後簡稱波瓦）在他超過半個世紀的劇場生涯裡，隨著不同時代及身處的國家社會現象，發展出切合當時、當地的劇場方法，協助民眾解決心理與生活上所面臨的困境與問題。做為波瓦生前發展的最後一套劇場技巧，「立法劇場」除了分支出去在戲劇治療領域的「慾望的彩虹」以外，幾乎涵蓋所有「被壓迫者劇場」的步驟、方法與政治論點。相近又不盡相同的是，「被壓迫者劇場」將觀眾變成演員，解放觀眾的思想及行動的意願，「立法劇場」更進一步，將公民轉換為立法者，把執行權交到公民的手中。本文以「立法劇場」為中心，從「被壓迫者劇場」發展的敘事整理，到其方法的執行步驟與內容，做詳實的敘述，並以長年向波瓦學習並實際操作系列工作坊的經驗與田野調查為實例與基礎，從參與者本身與觀察者的立場，搭配學術文獻的印證，逐步再現「立法劇場」的執行方法與核心思想。

Augusto Boal, during a theatrical career that spanned more than 50 years, dedicated his life to developing theatrical methods, most notably theater of the oppressed, the rainbow of desire, and legislative theatre. These could be most easily accepted by the people of a certain locality who had an ambition to resolve the predicaments and challenges they faced in their daily lives. The last theatrical technique promoted by Boal in his lifetime, legislative theater, was noted for encompassing theatrical steps, methods, and political connotations. These were also components of theater of the oppressed, apart from its branch in drama therapy, the rainbow of desire. The slight, yet astounding difference between theatre of the oppressed and legislative theater is that the former turns the audience into actors and liberates people from old-time clichés and oppression, whereas the latter turns citizens into legislators who may be entitled to voice their opinions in public affairs. This paper elaborates legislative theater by rendering a detailed description of its origin in theatre of the oppressed and its executive phases, key points and content. As an observer of Boal methodology and a practitioner of Boal’s methods, the author has acquired experience in serial workshops and field research and has also collected academic materials with the aim of reconstructing the executive steps and core philosophy of legislative theater.