高行健在戏剧与美术上都有着大胆的试验和明确的理论自觉，虽然他反对“在画上题字”之类不同艺术手段之间的“入侵”，但是在人格和美学精神的深层面上，早已将戏剧与美术等多种艺术形式融会贯通，开拓了全新的艺术境界。 本文从高行健美术对戏剧的影响着手，提炼出“主体间性”这一贯通二者的因素，认为“主体间性”是高行健从绘画到戏剧创作一以贯之的重要美学思想，是由高行健的美术经历影响而形成的独特的戏剧美学内涵。并分“外部主体间性”与“内部主体间性”两方面解读高行健戏剧对人与世界、人与人、自我与自我关系的探索，从艺术手法发现高行健深层美学精神。

In both drama and art Gao Xingjian has made bold experiments and also established an explicit consciousness of theory. Although he is self-consciously against invasions between different means of art, however, he has comprehensively mastered these several means in his deeper surface of personality and aesthetic spirit, thus opens up a new art realm. This article looks at the influence of Gao Xingjian’s painting experience on his drama, and tries to analysis how Gao Xingjian has built the theory of inter-subjectivity from painting and then use it into drama writing, establishing a unique aesthetic world in his dramas. The article also focuses Gao’s ideology of relationship between people and the world, self and others, and also self and self, from two aspects of external inter-subjectivity and internal inter-subjectivity. My aim is to find out Gao Xingjian’s drama aesthetic ideology from his dramatic method.