在诉求着解构、后现代与后殖民等学说的当下,“跨文化”(interoultural)也深为剧场界所关注与尝试。从书写文本的改编、表演技法的碰撞,乃至于剧艺内涵对社会人文的观照等层面,都关涉着编、导、演对于不同文化生态的解读与转嫁,以期从交互指摄或解构新诠中,为戏剧激发更深厚更多元的艺术能量。成军即将届满二十载的“当代传奇剧场”,向来即致力于向西方经典取经借鉴,以探索当代中国戏剧的新型态为目标。本期即以“当代传奇剧场”最新力作《等待果陀》,邀请导演与剧评家各自表述其创作理念与观剧心得,以检视跨文化剧作在“传统／现代”中的“破／立”。 At the moment when the demands of deconstruction, postmodernism and post-colonialism are claimed, “interoultural” is also deeply concerned and attempted by the theater industry. From the adaptation of written texts, the collisions of performance techniques, and even the connotation of theatrical arts to the social and humanistic aspects, it is all about the interpretation and pass-through of different cultural ecologies by the editors, directors and performers, with a view to interrogating or deconstructing new interpretations In order to stimulate drama for a deeper and more diverse artistic energy. The forthcoming 20-year-long “Legend of the Contemporary Theater,” which has been about to expire, has always been devoted to drawing lessons from Western classics and exploring new forms of contemporary Chinese drama. This issue is based on the latest masterpiece of “Contemporary Legendary Theater”, “Waiting for Godot,” and invites directors and critics to express their creative ideas and their views on operas in order to examine the “broken / Stand. ”