義大利即興喜劇為歐洲喜劇劇場的重要根源，這是不爭的歷史實情；其間的即 興性其實來自它的語典性的靈活轉換，這一特點迄今尚無深入的論述，爰借達利 歐•佛的劇場演出的語典根源略作申述。 本論文主體分三個部分，一是存留幕表階段的義大利即興喜劇，本文試著提 記其劇場即興性的幾個基本特點；二是存留在劇中劇或後設階段的義大利即興喜 劇，我們以喬凡•巴第斯塔•安德瑞尼《兩劇團的喜劇》為例，略說其定型化的 語典性；三為殘留現代劇場中的語典性，我們以史特林堡的《夢幻劇》、皮藍德 婁的《六個尋找劇作家的劇中人》為例加以說明；四為當代劇場中的語典性，我 們直揭達利歐•佛的表坊版《意外死亡，非常意外》與《一夫二主》乃至《暗戀 桃花源》明華圜合作版都有可加論列的經節。 最後，我們想一探劇場語典性的幾個層次，如戲擬、劇中劇、後設、趕演(一 趕二或趕三）、分演等劇場現象的理論層次，或許可為劇場演出的語典性探討提出論斷。

論文大綱

一、引言：即興與語典性

二、幕表階段的即興性

三、後設階段的語典性

四、現代劇場中的語典性

五、台灣劇場中的語典性

六、結言：劇場語典性的幾個層面

It's a real historical truth that the Italian comedia del5arte is one of the most important sources of European comedy; nonetheless its traits of improvisation come from the idiosyncrasy with characteristic of vivid transformation, this is a trait that no man till now have done research elaborately enough. So I would to study this phenomenon of idiosyncrasy in discussing the performance of Dalio Fo's theatre. There are Four Parts in this paper; First, the scenario-stage of comedia del Parte, we would mention some basic points of its theatrical improvisation; Second, the "theatre in theatre" in the second generation troupe, "Duo comedie in comedia" by Giovan Battista Andreini for example; and its reflexive representation in French as in Corneille and in Moliere. The third, we discuss the idiosyncrasy used in modern theatre as in Strindberg's A Dream Play; and the Fourth, we suggest that there are connections between Dalio Fo and Taiwan contemporary theatre as the 'Accidental Death5 performed by 'Acting workshop’ and Secret Love and Paradise. In conclusion, we mention several levels of the idiosyncrasy in theatre, as parody, theatre in theatre, meta-theatre, double or triple representing both in historical and theoretical vision.