本論文分析三個奠基於傳統中國和日本文學的當代臺灣舞蹈劇場作品：「雲門舞集」的林懷民改編自戰國時代屈原詩人同名詩作的《九歌》、「多面向舞蹈劇場」的陶馥蘭以明朝湯顯祖《牡丹亭》劇作為出發點的《往牡丹亭路上之見聞》、以及前「舞蹈空間」藝術指導彭錦耀以日本民間流傳的鬼狐故事為本創作的《怪談╱繪卷》，剖析文學和劇場表演二種藝術形式如何影響並豐富彼此的藝術內涵，及身體表演和臺灣當代文化認同形塑的微妙關係。首先，透過比較文學文本和表演文本，我們發現三位表演藝術家在轉化傳統文學為當代表演時，同時也「解構」或「重新書寫」了該文學作品。其次，三個表演作品都援引了多種文化素材（如中國、臺灣、日本甚至歐美素材）來建構其身體表演文本，展現了一種屬於當代臺灣舞蹈劇場的獨特表演語彙。最後，將三個表演作品置於臺灣文化脈絡中閱讀，我們更窺見了劇場身體美學的形塑和臺灣文化認同建構的密切關係。

　　　　　A literary text establishes a verbal, permanent language on pages, while a dance theater work relies upon the non-verbal, visual, kinesthetic language of performers' bodies in time and space to communicate with its viewers. The study focuses on analyzing three contemporary Taiwanese dance theater works based on traditional Chinese and Japanese literature: Hwai-min Lin's Nine Songs inspired by Yuan Chu's ancient Chinese ritual poetry cycle of the same name, Fu-lann Tao's On the Way to the Peony Pavilion based on Hsien-tsu Tang's Chinese dramatic play The Peony Pavilion, and Sunny Pang's Kwaidan/Emaki evolved from Japanese ghost stories. The purpose is to explore the approaches the choreographers take to transform the literary works into performance, and investigate how these three works may contribute to illuminate the cultural identities of contemporary Taiwan. Drawing upon the methodologies of literary analysis, performance analysis, theater semiotics, cultural studies, and theories of post-colonialism, the study finds that these choreographers add layers of contemporary meanings into their performance works by using imaginative ways to transform the literary works into performance. Through exploring the dialectic relationship between literature and performance in these works, one also gain glimpses into how contemporary Taiwanese choreographers juxtapose various Asian and Western cultural elements to construct their bodily texts, to come to their own terms with their Chinese cultural pasts, contemporary experiences in Taiwan, as well as cultural influences from other parts of the world. They thus create a bridge between the past and the present and make these traditional literary works once again relevant to their contemporary Taiwanese viewers on stage.