身體在二元對立體制籠罩下，身體所遭受的憂患，有伊蕊格萊（Irigaray）所指出之「黑暗洞窟」的理性的自以為是；有巴赫汀（Bakhtin）「醜怪身體」所揭發之文明無中生有的禁忌。
此故，研究者找尋一個同時有文字思想、聲音語言、身體動作的舞台，來驗證身體被輕視、被利用的情境。
戲曲舞台成為我所採樣的樣本，它不單是一個藝術文化展現的表演舞台，也是意識形態消長的政治舞台。
在這個舞台上對身體動作是以「科介」此專門術語稱之。
科介在不同劇場中扮演不同角色，表現出身體地位的各式情境。有以下三種劇場的呈現：
(一)科介以女體科介的殖民嘲仿演出「反動劇場」。科介在舞台演出表達主權方面,以陰性弱勢般的邊配角色，鬱積著流放的情緒伺機反動。
(二)科介以插科打諢的丑角姿態演出「傀儡劇場」。科介前台化的定位，是受商業、政治、文化、美學操縱的傀儡角色，淪為工具價值隨人擺佈任意利用。
(三)科個以身體主體創造力來對峙物質文明的主角身分演出「本質劇場」。科介係以回歸原始本質，並擺脫外在「神意」指使，來尋求自我真實表現。
科介在戲曲舞台上的處境是身體活動文化的潛在文本。科介的「反動劇場」係為身體受冷落而打抱不平，科介的「傀儡劇場」是身體失喪主體性的前車之鑑，科介的「本質劇場」注重身體體知、身心共攝、身體創造力，可以提供身體教育未來走向之理念的參考。

The body endured some depressions under the shadow of binary opposition. Irigaray used the "black cave" to point out the pride of reason. Bakhtin used the "grotesque body" to unveil the prejudice of civilization.
Thus, I searched for a stage including character/thinking, voice/language, body/action to ascertain the fact of body's distress.
The Chinese opera theater became my selected object. In this stage the term of body action was "Ke Jieh".
The different roles of Ke Jieh in different theaters reflected the body suffering situations. There were three theaters as following:
1.Ke Jieh used the colonial mimicry of onnagata Ke Jieh to perform "the rebellion theater". In the facet of expressing sovereignty Ke Jieh played the supernumerary by means of the status of female.
2.Ke Jieh performed "the puppet theater" with the status of clown. The foregrounding position of Ke Jieh was under the control of commercial, political, culture, aesthetic theory.
3.Ke Jieh used the subject-creation of body to fight the material civilization; therefore, Ke Jieh performed "the essence theater" with the status of main actor. Ke Jieh returned to the original identity and got rid of the control of "God's will" in order' to look for the real presentation.
In conclusion, the performance of Ke Jieh in the Chinese opera theater became the potential text of body culture activities. "The rebllion theater" protested the degraded situation of body. "The puppet theater" was the reflection of body under control. "The essence theater " provided some directions to the development of body education.