以日本藝術家川口隆夫2013年單人表演作品《關於大野一雄》為經緯，本文通過探索土方巽對傳統歌舞伎的翻譯與理解，呈現戰後前衛藝術運動之承襲與擴展。本文核心在於闡述《關於大野一雄》在創作自述中所提出「抄襲即原創」的概念，並從歌舞伎圖像學的脈絡，爬梳複製與抄襲的傳統，藉此分析女形表演與影像(意象)間的譜記關係。以歌舞伎類型化角色實踐的立場來理解，本文於結論指出，這部作品的激進之處在於，通過妄想、追憶等想像力總和的譜記技術，同時經由變形與退化的途徑，在噴發與穿刺之時，反身性主體得以現身。

This essay takes About Kazuo Ohno, a one man show project by Takao Kawaguchi in 2013 as the main focus, and presents a study of Japanese Kabuki via the reading and translation of Hijikata Tashumi, a postwar avant-garde artist. It cites “A Copy is Original” from Takao Kawaguchi’s statement of About Kazuo Ohno, explains the tradition of copying and reduplicating in kabuki iconology, and analyses the relationship between Onnagata and its images in the context of kabuki role-playing. This essay draws out the radical thinking of About Kazuo Ohno, and emphasizes the presentation of the reflexive subject. It explains the theatrical notation techniques for illusion, reminiscence and imaging, as well as the subject appearing at the very moment of penetration and menstruation, by transforming and deforming itself.