本文背景與理論基礎是歐洲一百多年來的舞臺表演與其他領域的藝術發展以及相關美學資料。以此為出發點，採取現象學美學的方法，觀察高雄愛慕劇團近期的話劇表演。本文特別將其第二號作品《家裡沒男人》作為例子來分析，目的在儘量具體地彰顯「風格化」、「在地化」以及「日常化」這三種美學觀點的意涵，藉以凸顯出當代臺灣劇場的潛力之所在。本文聚焦於表演空間、表演身體以及種種視覺情形，基於更廣泛的美學關懷，試圖為「風格化」、「在地化」、「日常化」等創作準則作辯解。

This paper starts with the centennial development of performing and other arts in Europe, while providing some aesthetic reflections related to these modern developments. Detailed observation, from the perspective of phenomenological aesthetics, is presented, regarding E-Mu-Theater in Kaohsiung, with special focus on its last performance project “No Man at Home”. On this empirical basis, this paper discusses in a concrete way the aesthetical notions of stylization and localization, as well as the possible relationship existing today between art and everyday life. The aim of this study is to plead, so to speak, in favor of these ideas, in order to highlight the potential of contemporary performing arts in Taiwan, part of which has actually already been realized.