本研究主要在探討舞蹈的審美過程中，力與視覺想像之間相互影響的結果。發現人們常藉由各種不同的舞蹈、律動、歌唱等來表達他們種種的生活面貌與情感，但因透過身體直接的溝通，往往比文字或語言有更豐富的象徵含義或更直接的體驗，即因舞蹈及非語言的動作允許且容易讓人們將不存在於意識認知或言語、思考土無法向自己顯露的情感與各種感覺呈現出來(李宗芹，民的:29 )。再者，身體的力量是舞蹈重要的因素之一，伴隨著時間、空間的變化，更能完成諸多美妙的作品，觀眾在欣賞的同時，常常體驗到式「看」到身體運動之外的泉西，而那也正是審美的重要過程與目的之一，就是因為透過視覺的欣賞，觸動人們的知覺與想像能力，共同理解或更豐富作品。而也就是因如此的審美對象，並非是真實的實體或情境，像是虛幻的、虛構的，然而卻又是真實地在看、真實的身體移動變化，如看到身體力量向外放與向內收的同時，也仿佛r.看」到對外的溝通與向內的孤獨或寂寞。人們總有意無意地運用視覺想像，欣賞眾多不同的舞蹈作品，給予不同詮釋的同時，因能對舞蹈作品所散發出的各種「力」，有著進一步的把握。

Thisresearch is to study how the interaction of strength and vision imagine in the process of dancing. It is found that people often express their various feeling in daily life through a variety of dancing， rhythm， and singing. However， sometimes body communication shows richer symbolism and deeper feelings than words and languages. Thisis because dancing and non-verbal actions allow people to display easily what does not exist in conscious cognition or what cannot be unveiled by language or self-thinking. Moreover， the strength of our body is one of the most important factors in dancing. People can perform many wonderful works with the change of time and space. Theaudience often feel or see something beyond body actions. The is also one of the important processes and purposes on aesthetic. Through appreciation by vision， people's perception and ability of imagining are aroused to realize or make the work richer. Although the audience see the true body movement of the dancers， the dancer look like fiction， not real. By doing this， people see the body communication to the outside world and the loneliness of the mind at the time when the dancers stretch out and in through of body strength. People become more confident in aesthetic by applying vision imagine casually to appreciate and interpret different kinds of works.