本論文問題意識的發端，緣於傳統戲曲的審美經驗。由此產生對人之「感性主體」與審美對象之「可感性質」兩者之間美感交涉情形的思索，繼而展開對物我二元共構現象的探究。於是以對此問題的思考為基礎，審視余上沅「國劇」觀，略論中國19世紀末至20世紀初，中西戲劇美學交涉現象。 第一章先藉歷史文獻的耙梳以呈現當時時事情境中，二元對立與二元共構思維，彼此勢力存在與消長之實際情形。接著分析當時貫串劇壇的「戲劇實用」思維，釐清中國傳統戲劇於文化脈絡特有的藝術秉性，作為清末民初中西戲劇美學交鋒時，中國傳統戲劇的文化底蘊。第二章針對中國近代戲劇活動之實際事例予以論述，並介紹余上沅「國劇運動」發展經過及其歷史意義。 第三章首先梳理余上沅中西學養的淵源與界線，以掌握他戲劇觀中穿越二元對立的省思力。而後耙梳余上沅的主要戲劇理念，具體呈現他理念的特殊性。最後從余上沅戲劇觀的審視，延伸出對中西戲劇美學及劇壇現象的觀察，探討物我二元共構思維的體物重心，即其運思的著眼點，不在人或物各自的美感性質，而在兩者美感交流、共構的關係中，以呈現此一著重二元關係變化的特殊思維，以及此種思維方式於戲劇藝術上的開顯情形。 In this thesis, the origin of the problem is due to the aesthetic experience of the traditional Chinese drama, and the thinking of human “emotion of the subject” and the “perceptible property” of the aesthetic objects between their reaction and process. It will explore the dualistic relationships and co-construction of the relationship between material and self. Based upon this issue, the thesis will reexamine Yui Shang-Yuen's “national theatre” concept, with the analysis on the background of the interaction between Chinese and Western theatrical aesthetics in late 19th and early 20th China. Chapter One focuses on the study of historical background, and explains the actual situation of dualistic relationships and co-construction. Then, it will analyze the “theater of practice” conept during this period, and clarify the cultural context of traditional Chinese theater in its unique artistic property. Chapter Two focuses on the practical examples of modern Chinese theatrical events, and analyze the development of Yui Shang-Yuen's ＂national theatre movement＂ through its historical significance. Chapter Three first explores the origin and boundaries of Yui Shang-Yuen’s learnings both on Chinese and Western theatre in order to understand his “national theatre” concept through reflection of dualistic relationships conflicts. Finally, it will reexamine Yui Shang-Yuen's “national theatre” concept, extending to the observation of Chinese and Western theateric aethetics and activities. Under this observation, this paper also examines the binary co-construction of material and self. In other words, its focus of attention is not the inside material or self nature between ; that is, between their interaction and inter-process.
