本文運用法國哲學家德勒茲與瓜達希發展出的概念，以當代傳奇劇場《李爾在此》為例，探討跨文化劇場中之政治性。《李爾在此》為當代傳奇劇場藝術總監吳興國編導演之作品，吳興國在作品裡跨越行當的限制，一人擔任十個角色的演出。學者已經指出，吳興國的個人面向影響此作極深，尤其反應吳興國與其師父之間的關係；然而，除了對照藝術家的個人經驗之外，此作亦開展其他的閱讀可能性。德勒茲與瓜達希的概念，對舞台再現性與文化認同之間的連結提出質疑，並有助於理解跨文化劇場展演脈絡中的政治性；以此閱讀《李爾在此》，則可觀察出，作品中對於京劇藝術以及莎士比亞《李爾王》演出史的去領域化。
This article discusses ＂Li Er Zaici＂, a performance created by Taiwanese actor Wu Hsing-Kuo, the artistic director of the Contemporary Legend Theatre. In this production Wu performs ten characters from Shakespeare's ＂King Lear＂ in three acts, drawing on performing styles and techniques from the ＂jingju＂ (Peking Opera) tradition. This internationally touring production offers an example of the dilemmas encountered by many intercultural theatre performances that explore the possibilities of mingling different cultural elements. Several scholars have discussed the personal dimension of this production, suggesting that it can be seen as the artist's attempt to reconcile with his mentor, who severed their relationship because of Wu's desire to step out of the confines of the tradition. Drawing on concepts proposed by Gilles Deleuze and Félix Guattari, which raise questions about taken-forgranted assumptions about onstage performance and cultural representation, this paper calls for a reconsideration of the presumed link between ＂jingju＂ and Chinese cultural identity. I argue that, reflective of the affliction brought upon by the modern situation, Wu's response was more a complication than a straightforward answer. From this perspective, Wu's rendition produces deterritorialisations of both the traditional confines of ＂jingju＂ and the staging history of ＂King Lear＂, and opens up new possibilities in both fields.
