本論文以巴迪烏《世紀》一書中「真實」和「對真實的熱情」兩個概念為引子和引線，討論巴氏為我們形塑的「二十世紀」並深究巴氏戲劇與劇場的位置與思維向度。論文首先細究的是「真實」和「對真實的熱情」兩個概念的意涵。接著論文藉由「場面調度」和「後設藝術」兩個詞彙來揭示巴氏思索與論述二十世紀戲劇和劇場的角度和方法。論文也藉由檢視巴氏的相關戲劇劇場論述，諸如《非美學手冊》、〈給劇場的狂想曲〉及他所創作的短劇等，來掌握他的劇場思維。全篇論文試圖釐清並分析巴氏看待戲劇與劇場的認知視角與思想結構，指出巴氏劇場的思維係植基於他「劇場與政治類質同形」的劇場觀。論文揭發並批判巴氏在劇場這個領域的思考極限與盲點，並論證巴氏雖以非美學之名為藝術賦權請命，儘管如此，巴氏獨尊觀念、真理與思想的作法導致包括身體、情感、祭儀、精神性等劇場元素被迫臣服於他所標舉的觀念與思想的箝制與掌控之下，無所遁逃且只能扮演次要的角色。

This paper uses the two notions—“the real” and “the passion for the real”— from Alain Badiou’s The Century as the point of departure to initiate a discursive analysis about “the 20th century” theorized by Badiou and to probe into his philosophical position in the field of drama and theatre. First of all, this paper delves into the meanings of “the real” and “the passion for the real.” It, then, attempts to reveal the viewpoint and the method adopted by Badiou through an exploration of “mise-en-scene” and “reflexive art” as discussed in The Century. In examining Badiou’s Handbook of Inaesthetics, “Rhapsody for the Theatre,” and his short plays, we are able to better grasp his theatre thoughts. By pointing out that Badiou’s theatre thoughts are based on his hypothesis of “the theatre-politics isomorphism,” this paper elucidates the limits of his ideas and critiques his overall configuration regarding theatre arts. Even though Badiou empowers the theatre arts in the name of inaesthetics, he, nevertheless, valorizes idea, truth, and thought over the theatrical elements of body, affect, ritual, and spirituality.