劇作家賴聲川在《暗戀桃花源》這齣戲中，以即興、拼貼、集體創作的方式，描寫二十世紀中國人在臺灣的錯置（displacement/dislocation）情結。這齣被視為表演工作劇坊的經典戲描述二個劇團，因場地租借問題導致在同一夜晚，同一劇院舞臺上互相搶地盤彩排各自的《暗戀》和《桃花源》二齣戲。《暗戀》是敘述1990年的江濱柳想念1948年的時被戰爭強迫分離的女友雲之凡。《桃花源》則是改編自中國古典名著〈桃花源記〉的一齣古裝嘉劇。賴聲川以後現代手法將兩齣戲並列於舞臺上，巧妙的分割舞臺空間使兩齣戲互相干擾、對話，營造出驚人的爆笑效果。但同時，《暗戀桃花源》的主題卻呈現二十世紀中國歷史時間社會空間的二個複雜關係：其一為流離失散（diaspora）的錯置；其二為時空界限跨越的失落。本文將援用卡普蘭（Caren Kaplan）和梅西（Doreen Massey）二位空間學者的概念，用她們所說的空間的同時性（simultaneity）和多重性（multiplicity）來釐清賴聲川如何呈現所謂的當下臺灣現象—亂和干擾，並進一步了解賴聲川是如何利用舞臺上的幻覺（illusion）達到與時空交錯跨越這個主題的呼應補強效果。

Taiwanese playwright Stan Lai in Secret Love for the Peach Blossom Spring uses improvisation, collage, and collective creation to depict the complex of displacement/dislocation of twentieth-century Chinese. Deemed as a classic of performing Workshop, this play describes how two theatrical troupes, due to the stage reservation mistake, try to occupy the stage space to rehearse their plays, Secret Love and Peach Blossom Spring, respectively. Secret Love is bout how Jiang Binliu of 1990 misses his girlfriend Yun Zhifan, who was forced to be separated from him because of the war in 1948. Peach Blossom Spring is a comedy adapted from a Chinese classic prose entitled On Peach Blossom Spring. Stan Lai places both plays on stage via postmodern treatment; the ingeniously divides the stage space to make the plays disturb and dialogize mutually, hence creating spectacular and hilarious effects. Meanwhile, the theme Secret Love for the Peach Blossom Spring presents are two historical-social complexes in the 20th century China: one is diasporic dislocation/displacement and the other the sense of loss after time-space boundary crossing, I will employ Caren Kaplan and Doreen Massey’s theories, especially their concepts of simultaneity and multiplicity, to elucidate how Stan Lai presents on stage the current Taiwanese phenomenon—chaos and disturbance; furthermore, I will demonstrate how Stan Lai makes use of the illusion on stage on supplement and reinforce the theme of the crossing of time space in this play.