本文的目的在於以詮釋現象學的方法，嘗試揭露心理劇中替身經驗的結構內涵。本研究透過公開招募的方式，招募具有人際議題，並想透過心理劇替身技巧幫助其解決人際議題的成員5位，其中研究者會邀請5位受過250小時以上心理劇治療訓練的成員擔任替身5位，邀請5位受過三年以上心理劇治療訓練的成員擔任輔角。本文的臨床操作是在心理劇治療場境，透過替身場景進行暖身，促進主角與替身的對話。替身場景約進行約30-60分鐘。本研究於替身完後，即請替身撰寫替身經驗描述文，有關經驗描述文本的分析，則遵循著李維倫與賴憶嫺（2009）提出之現象學分析方法五步驟進行資料分析。本研究結果發現替身經驗普遍結構的二個行為向度：一是橫向聯繫作用：人際語言、非語言行動。替身會傾聽主角、輔角互動的口語語言與非口語語言，引發身體感受，進入主角的經驗脈絡；一是縱向聯繫作用：話語—身體感受。替身在替身場景中，替身經驗到身體、心理的感受，進入主角經驗脈絡，理解主角的置身所在，因而說出替身話語。同時也發現自發性替身經驗歷程，替身卡住經驗歷程與替身脫卡經驗歷程。透過本研究，解明替身經驗的現象，藉以擴大並充實替身經驗的理論，並提供對同理 能力訓練的參考。

This study aims at revealing the experiential structure of doubling in psychodrama using a phenomenological method. Five participants with the interpersonal issues were chosen and invited to be the protagnists. Five auxiliaries and five doubles were invited to attend the double-training workshop. In the workshop, the researcher designed a doubling scene to warm up the protagnists. The doubling scene included the protagonist, the auxiliary (who played the person and had interpersonal issue with the protagonist), and the double (who sat beside the protagonist). The director facilitated verbal dialogue between the protagonist, the auxiliary and the double. And the dialogue lasted for 30-60 minutes. The researcher collected the experience-describing of the doubles. Phenomenological analysis (Lee & Lai, 2009) was applied to the descriptions of experience. The experiential structure of doubling in psychodrama consisted of two dimensions of behaviors. One was the horizontal dimension, indicating the interpersonal verbal and nonverbal communication. The double listened to the verbal and nonverbal behavior of the protagonist and the auxiliary, listened to the interaction between the protagonist and he auxiliary. The double arouse bodily feelings and doubled for the protagonist. The other was the vertical dimension, indicating the words-bodily feelings connection. By role-playing or by interacting with the protagonist or the auxiliary, the double experienced the inner and bodily feelings, the double understood the protagonists’ experience and was in the role of the double and doubled for the protagonist. There are five experiential themes in the experiential structure of doubling in psychodrama. The first experiential theme was that the double was in the role of the double by role-playing. The second experiential theme was that the double was to reveal the protagonist’s inner experience. The double played the role of the protagonist, listened to the verbal and nonverbal behavior of the protagonist and the auxiliary, and listened to the interaction between the protagonist and the auxiliary. The double arouse bodily feelings and was in the role of the double, with an aim to understand protagonists’ experience. The double revealed the protagonist’s inner experience. The third experiential themewas that the double facilitated the protagonist’s inner dialogue. The double listened to the verbal and nonverbal behavior of the protagonist and the auxiliary, and listened to the interaction between the protagonist and the auxiliary. The double arouse bodily feelings and was in the role of the double and doubled the protagonists. The double facilitated the protagonist’s inner dialogue. The fourth experiential theme was that the double empowered the protagonists by bodily movement. The double listened to the verbal and nonverbal behavior of the protagonist and the auxiliary, listened to the interaction between the protagonist and the auxiliary. The double empowered the protagonists by bodily movement. The last experiential theme was that the double kept the spontaneous doubling process. The spontaneous doubling experience was that the double listened to the verbal and nonverbal behavior of the protagonist and the auxiliary. The double listened to the interaction between the protagonist and the auxiliary. The double arouse bodily feelings and keep being in the role of the double and doubled the protagonists. The double revealed the protagonist’s inner experience, facilitated the protagonist’s inner dialogue, and empowered the protagonists by bodily movement. The spontaneous doubling process kept going. The researcher reveals the experiential process which the double is stuck and out of stuck. The researcher revealed two situatedness of the double. One situatedness was that the double was isolated with the protagonists’ experience. The other situatedness was that the double was refused by the protagonist and the auxiliary. By being doubled by the director, the double was out of stuck and keep the process of doubling. Based on the results of the study, various significant features regarding the experience of doubling in psychodrama were clarified.