王墨林長期對小劇場、身體文化、表演藝術、前衛藝術等議題的關注，但當藝文界人士談論起王氏時，總以「難搞的」、「異端的」、「偏激的」、「大聲的」、「疾呼的」將其刻板印象化、標籤符號化。本文旨在釐清這個「符號」裡頭所承載的論述內容及其中較為細緻的辯證思維，並希冀藉由本文的書寫，促發王墨林《身體論》的寫作進度；其次，本文亦試圖將他的「身體觀」探索、形構與轉變的歷程勾勒出來，並爬梳其「身體論」的架構與意識系譜，且檢視其與臺灣小劇場運動的關係。

Although Wang Mo-Lin has concerned little theatre, body culture, performing art, and avant-garde art for a long time, he is concerned as well as a sign of troublesomeness, heresy, rabidity, and clamor. The thesis attempts to sort the discoursive content and dialectic thought of the sign, to encourage Wang Mo-Lin in writing the book The Theory of Body, to sketch the outline of journey in researching, forming and transforming of his conception of body, and to overlook the structure of his theory of body and the interaction with little theatre movement in Taiwan.