劇場研究者夏爾姆（Helmar Schramm）所提出的「知識劇場」不只是觀看知識的空間，更是建立知識的空間。「知識劇場」——解剖劇場、藝術收藏室、煉金術實驗室——因而能被理解為「媒介學」（Medienwissenschaft）所提出的「文化技術」，也就是「建立文化的技術」。本文試圖從媒介學研究者希格爾特（Bernhard Siegert）所分析的「門」進入「知識劇場」的分析，指出「解剖劇場」、「藝術收藏室」、「煉金術實驗室」之所以能建立知識，涉及的是「分別」、「連結」、「轉變」的技術。就像「門」以「界線」的操作／運作建立文化，它們則分別以「圓劇場」、「收藏格」、「煉金術配方」的操作／運作建立現代解剖學、博物學與化學的知識。在媒介學的觀點下，它們都是在意義前設立意義的技術預設。對於「知識劇場」的分析更能提示出，在「人的技術」外，更有「物的技術」，呼應了當代媒介哲學對於「技術」與「物」的關注。

This research examines “theater of knowledge” from the perspective of “culture-technique” (Kulturtechnik). It analyses how knowledge is developed through the operations of culture-techniques of anatomical theaters, cabinets of curiosities and alchemical laboratories which are “theaters of knowledge” in theater researcher Helmar Schramm’s sense. In media studies (Medienwissenschaft), “culture-technique” refers to the technique through which knowledge or culture is developed. Beginning with the elaboration of the meaning of culture-technique, it analyzes how “door” –– which represents the “culture-technique” in general –– and “theater of knowledge” develop knowledge and culture through the techniques of “separating,” “relating,” and “transmuting.” While “door” develops culture through the operation of “demarcation line,” the modern knowledge of anatomia, historia naturalis, and alchemia is developed through the operations of “circle theater,” “quad compartment,” and “recipe instruction.” It is through these operations –– as the technic preconditions for “meaning” –– that meaning can emerge.