優劇場以白沙屯媽祖進香做為尋找另類身體的演員訓練，開啟許多劇場工作者每年參與的機緣，成為回顧與更新身體和自我、土地、人群或媽祖精神的連結機會。當大多數研究關注白沙屯媽祖進香與文化認同建構之關係時，較少研究將劇場參與者的徒步身體經驗置於提問的中心，去分析身體如何呼應、累積並回應白沙屯媽祖徒步進香的召喚。因此，本文目的在探討白沙屯媽祖進香如何被劇場參與者的身體感知、行動、書寫並轉化為身體記憶。文章分析進香客群體中的另類劇場人身體，深度描述在這種自覺模式的長程徒步之中，踩踏入地的腳步、身體重心的移轉、群我的呼應關係等。運用我的身體為研究方法與工具，採用現象學式的民族誌深度描寫並參酌其他劇場參與者的敘述，並援用舞蹈學者提出的「動覺共感」去反思身體感知經驗、實踐與意義產生之交互關係。經過分析後，結果發現白沙屯媽祖徒步進香過程中的劇場人身體關注「身踏入地」之實踐，意即在集體行走動律的每一步之間，專注於向內自省身體的感知回饋與向外覺察群我動態關係。本文結論認為劇場參與者個人身體經驗的多元詮釋並存於集體進香文化之中，他們將身心整體置身進香群體與在地環境脈絡中，方能累積出「動覺共感」的即時回饋與意義，並由此產生新的身體知識與記憶。

The Baishatun Mazu pilgrimage has been first employed by the U Theater as a new way of actor training for those in pursuit of an understanding of their alternative bodies; now many theater practitioners relish it as an annual opportunity to review one's connection to the self, the land, the people, and the Goddess Mazu. Most prior research has focused on the relationship between the Baishatun Mazu pilgrimage and the construction of cultural identity. Few inquired directly into the body experiences of on-foot pilgrimage. Therefore, the purpose of this paper was to investigate how the movements of walking are pursued, sensed, inscribed and transformed into body memory by theater workers participating in the Baishatun Mazu pilgrimage. This paper focuses on the alternative bodies of theater workers and explores the self-awareness mode of this long-distance walk by analyzing the grounded feet, weight shifts, tight muscles, and pains. Using my own body as a research tool and method, this paper employs my phenomenological ethnographic writings, discusses several theater participants' accounts and draws the concepts of ＂kinesthetic empathy＂ to rethink the inter-relationship between individual body practices and interpretations of their meanings. The results of this paper found that these theater participants in the Baishatun Mazu pilgrimage concentrated on the practices of ＂grounding.＂ They not only focused on the feedback of their inner body and senses, but also observed outwardly the dynamic inter-relationships between the group and the individual. This paper concludes that the space of individual and the space of multiple interpretations exist side-by-side within the rhythms of collective walking. When they posited and projected their body and mind deeply into the local context of pilgrimage, they accumulated the dynamic meanings of ＂kinesthetic empathy＂ that generated and renewed body knowledge and memory with each step.