西方傳統哲學的太陽中心主義，在著重光與形式的關係中視陰影為光的缺乏，故而使得陰影的重要性與意義被隱沒。在此脈絡下，探問翁托南．阿鐸（Antonin Artaud, 1896-1948）如何從影子談劇場與複象，成了本論文的主要關注。究竟阿鐸開展出如何的劇場意涵？所涉及的或許將不只是對於劇場意義的澄清，也同時是對於形上學意義的探問。本論文環繞身體性與聲音探索劇場與「空間」的意義，藉此在新柏拉圖主義的善惡觀之外，呈顯阿鐸思想中的惡與殘酷劇場的意涵，並嘗試凸顯藝術與生命的關係如何與劇場相牽繫？

While the heliocentrism of occidental traditional philosophy primarily regards shadow as a lack of light due to its emphasis of relationship between light and form, the importance and the meaning of shadow is in turn concealed. In this context, inquiring how Antonin Artaud talks about the theatre and its double from the shadow has become the focus of this article. What kind of theatre implications does Artaud develop? What may be involved will not only be a clarification of the meaning of theatre, but also will be an inquiry into the meaning of metaphysics. This paper explores the meaning of theatre and “space” through corporality and sound in an attempt to manifest the meaning of “evil” and “theatre of cruelty” in Artaud’s thought, apart from the neo-Platonic view of good and evil. Therefore, this paper attempts to highlight the relationship of art, life and the theatre.