解嚴前的國家慶典活動，所營造萬眾一心的現場氛圍和莊嚴的儀式感，是一段國族歷史的縮影。本文希冀以技藝下的閱兵身體為觀察視角，辯證臺灣的節日政治與儀式政治的關係，探討國家形象的塑造，進而梳理「國慶儀典」的儀式過程。其次，藉由觀看國民政府遷臺後的國慶儀典過程，梳理閱兵儀式中的表演／儀式行為，探索表演者的身體性，進而建構閱兵儀式的原型。可以發現，透過我是我／非我的閱兵身體、反結構狀態下的閱兵訓練、儀式行動與「轉化」經驗，皆讓我們對於閱兵儀式「操演」階段，以及閱兵步法「表演」階段的屬性與特徵，有著更為深刻的理解。最後，本研究以廣義的「表演」論述，探討閱兵儀式的表演，並從儀式空間與權力展演、權力的彰顯與馴服、卡里斯瑪現象，重新檢視閱兵身體的空間化發展，進而觀看臺灣的空間戒嚴與權力的關係。

The atmosphere of all people united on the site and the ceremonial solemnity of a national celebration event before the martial law ended are like an epitome of the history of the nationality. From the perspective of the military ritual body with good skills, this study aimed to investigate the relationship between holiday politics and ceremony politics, explore the shaping of the national image, and further summarize the process of national ceremonies. Secondly, based on the observations of the national ceremony processes after the Nationalist government was relocated to Taiwan, this study summarized the performances / ceremonial behaviors in military rituals, explored the performers’ bodiness, and further constructed the prototype of military rituals. It was found that, based on the military ritual body of me being me / not being me, the military ritual trainings in the anti-structure state, ceremonial actions, and the experiences of “transformation”, our insights into the properties and features of the phases of military ritual “demonstration” and military ritual footwork “performance” were deepened. Lastly, through the discourse of general “performance”, this study discussed the military ritual performance, reviewed the development of the spatialization of military ritual body from the aspects of ceremonial space, power demonstration, power manifestation, docility, and the charisma phenomenon, and further looked into the relationship between the enforcement of martial law of space and power in Taiwan.