戲劇一向被視為一種「綜合藝術」。它兼備了文學、音樂、視覺，等等的多樣藝術元素。隨著劇場藝術變革的多樣化演變以及藝術美感經驗的多元化訴求，東、西方現代戲劇反而朝向「返樸歸真」的簡單化發展。高行健的實驗戲劇以其民族特色引起關注，二○○五年國立中山大學劇場藝術學系所推出的年度製作《車站》這齣戲，便是在現代戲劇與「民族形式」的藝術特色中進行創作的。《車站》的「跨領域」藝術特色表現在融合布萊希特「史詩劇場」的表演美學，因此在戲劇形式方面，它具有史詩劇的形式和東方傳統戲曲舞台「假定性」的特點。該劇以中、西方戲劇形式的融合，以及高行健戲劇理論所主張的「劇場性」，呈現出新穎的現代戲劇樣式。本文即力求透過《車站》這部劇作的呈現，對高行健戲劇觀在「跨領域」的影響做初步的探討。

The Drama is always regarded as one kind of ”the comprehensive art.” It has such diversified artistic elements as the literature, music, the vision, and so on. Along with the diverse evolution as well as artistic esthetic experiences in the field of theater art, there is a demand that the contemporary/modern play both from the Western and Eastern world transforms toward simplified development which is characterized as ”returns to original condition plain.” GAO Xingjian's Experimental Theatre arouses the interest by its ”national characteristic.” In December 2005, the Department of Theater Arts of National Sun Yat-Sen University created the play ”Bus Station,” a yearly manufacture, which features the combination of the modem play with ”the national style.” The artistic feature of ”cross domain” in the ”Bus Station” fuses the performance esthetics with ”The Epic Theatre” outlined by Brecht. Therefore, the ”Bus Station” has the form of epic poem play and the characteristic of ”Stylization” originated in Eastern tradition drama stage. This play, by the fusion of theatrical forms from East and West as well as the theory of ”the theatricality” which Gao Xingjian advocated, presents a novel modem play style. Through the presentation of the dramatic work of ”Bus Station”, this article is the preliminary discussion of the influence of ”cross domain” to drama play that Gao Xingjian established in his point of view.