本文以德語作家克萊斯特在1810 年完成的短文〈關於傀儡戲〉為主，探討作者如何在他的文本中突破傳統，思考另一種不以人為中心的生命之可能性，並以此重新看待不在人的意識與企圖的主導下，生命有何新的定義。討論從克萊斯特在1801 年開始質疑康德哲學的知識論，也就是所謂的「康德危機」的背景開始，並探討受康德哲學影響的席勒美學。此外本文將借用德勒茲與瓜達里對於流變（becoming）的思考，論證為何這篇短文認為傀儡戲木偶因其本身的物質性與無意識之故，反而能展現比人更自然優雅的移動之動。同時本文也借助馬蘇米關於動物本能的論述，探討〈關於傀儡戲〉裡所隱含自我異化的可能性，以及如何抽離人為主導下一直習以為常的觀念，想法與優越性。最後本文總結：克萊斯特文本中的優雅裡所代表的生命，即是去除自我，並經歷過無限領域後與非人的領域相互連結的生命，表達出另類生命與存在於跨界開放結構下的想像與可能性。

Based on the German writer Heinrich von Kleist’s short prose “Uber das Marionettentheater,” this paper explores how Kleist breaks the philosophical and religious tradition so as to depict a new possibility of life decentered from the human being. The discussion begins with Kleist’s skepticism against Kant’s epistemology in 1801, the so-called “Kant-crisis.” This is followed by an exposition on the aestheticism of Friedrich Schiller, who was strongly influenced by Kant. Against such backdrop, Kleist argues that the marionette puppet can, due to its materiality and non-consciousness, express movement with more natural grace and elegance than a ballet dancer. Kleist’s notion is in keeping with the concept of becoming raised by Gilles Deleuze and Felix Quattari. By applying Brian Massumi’s studies on animal instinct, this paper aims to delineate the underlying implications in Kleist’s text, such as the notion of self-estrangement and the establishment of a new relationship between the humans and the non-humans. In conclusion, the grace presented in Kleist’s text demonstrates a kind of life that is de-subjectified and closely associated with the non-humans, signifying the possibility of another way of living that is based on an open-ended and cross-border structure.