本研究以李國修《京戲啟示錄》與《女兒紅》作為研究文本，主要探討劇作家創作半自傳式劇本時，是否能同時在自身的生命經驗中獲得療癒功能，劇作家以自身生命經驗當作創作藍本，在同時也對過去自己的遺憾進行彌補，透過戲劇方式重現當時的時空背景與人物，達成戲劇療癒效果。 本文總共分為六章討論，第一章為緒論，第二章為介紹李國修生平紀事及創作背景，第三章分析《京戲啟示錄》一劇，第四章則分析《女兒紅》一劇，在第五章融合上述三、四章的分析線索，整理出李國修獲得戲劇療癒的方法，第六章則是總結全文精要。 With Li Guoxiu's “Apocalypse of Beijing Opera” and “Wedding Memories” as the research texts, this study mainly explores whether playwrights can simultaneously obtain healing functions from their own life experience when they write semi-autobiographical scripts. Playwrights write semi-autobiographical scripts on the basis of their own life experience and try to compensate for previous regrets at the same time. In addition, through the form of drama, the temporal and spatial background and characters are also represented at the same time, and the theatrical healing effect is therefore obtained. There are six chapters in this thesis. The first chapter is the overall introduction and the second chapter is the introduction of Li Guoxiu's life chronicles and the background of his creations. The third chapter is an analysis of Li's drama “Apocalypse of Beijing Opera,” and the fourth is that of Li’s another drama “Wedding Memories.” The fifth chapter integrates the analyses clues mentioned above to find out the ways through which Li Guoxiu's obtained dramatic healing. The sixth chapter is the conclusion.
