本文主要讨论易卜生在当代中国的改编和演出,包括用中国传统戏曲的形式所做的改编和演出。这些演出具有三个明显的特点:第一是语言的混杂性,不仅是指文言和白话、各种方言,更主要是指中文和英文的混合使用,即所谓的“双语演出”。第二是戏曲改编的跨文化特征,既表现在中国戏剧舞台的高度抽象和简约,又指对西方现代和后现代舞台元素的吸收和运用。第三是戏剧主题的本土化,重在表达中国语境下的社会问题和政治关切,而非戏剧原来的主旨。论文通过对具代表性的易卜生改编和演出加以分析,探讨跨文化戏剧有关自我与他者、混杂、表演性等理论问题。 This article focuses on the adaptation and performance of Ibsen in contemporary China, including adaptation and performance in the form of traditional Chinese operas. There are three distinct characteristics of these performances. The first is the language mix. It refers not only to the spoken and written Chinese and dialects but also to the mixed use of Chinese and English, the so-called “bilingual performance.” The second is the cross-cultural characteristics of drama adaptation, which not only shows the high degree of abstraction and simplicity of the Chinese drama stage, but also the absorption and application of the stage elements of modern and postmodern Western society. The third is the localization of drama themes, focusing on the expression of social issues in China context and political concerns, rather than the main thrust of the original drama. Through the analysis of the representative Ibsen’s adaptation and performance, the thesis explores the theoretical issues of intercultural drama about self and others, miscellaneous, performance and so on.