本論文的主旨在於論證畢希納《旦通之死》劇中場景調度的空間設計與法國大革命人物邊緣化自我的描繪兩者之間的緊密結合。論文分四部分。緒論簡述畢希納對於歷史「大機制」之殘酷暴虐與個人自我之貧乏存有的批判省思，以及論述空間結構在本劇中的重要性。論文主體第一部分探討兩位政治對手旦通與羅伯斯庇爾同樣邊緣化的存有，聚焦於兩人貌似歧異實則隱然相似之處，亦即同時邊緣化不足與過度邊緣化。第二部分解說平民與女性角色的困境，包含平民的貧苦與殘忍、女性角色朱莉與呂西亞的理想化、尤其是可視為足以和羅伯斯庇爾相庭抗禮的女性成癮者瑪莉安的隱喻意義。兩部分中特別共同討論到的一點是：旦通、羅伯斯庇爾、朱莉、呂西亞、以及瑪莉安各自臨窗省思的場景，實為劇作家刻意將其推至邊緣、邊界而「呈現」其存有。結論總括前述人物生於邊緣處境的論述。

This paper argues that the spatial design of the mise-en-scene in Georg Buchner’s Danton’s Death is well built into his portrayal of the individual as marginalized self in the French Revolution. The paper is divided into four parts. The introduction briefly explains Buchner’s critical reflection on the brutal tyranny of history’s Grand Mecha-nism and the meager existence of human individuals and justifies the importance of spatial structure in the play. The first part of the main body examines the analogously marginalized existence of the two political rivals, Danton and Robespierre, with focus on their seemingly different but implicitly similar presence of being too less marginal-ized and too much marginalized at one and the same time. The second part explicates the sorry plight of the common people and the female characters, including the poverty and brutality of the san-culottes, the idealization of Julie and Lucile, and particularly the metaphorical significance of the larger-than-life nymphomaniac Marion, who is considered an inherent rival equal in weight to Robespierre. A particular spatial design especially discussed in both parts is the moments when Danton, Robespierre, Julie, Lu-cile, and Marion are respectively presented at the window, deliberately brought to the verge, to a “boundary” for the “presencing” of their existence. Finally, the conclusion summarizes all the discussions on the individuals living on the edge.