巴黎廟街區的通俗劇場於十九世紀蓬勃發展。戲劇舞台上的異國場景、東方人物的服裝舉止，乃至飲食風俗，都藉由劇場工匠們的再製'介入了觀眾對於他方的想像過程。本文將以1813年巴黎綜藝劇院首演的《兩個中國怪老叟》為出發點，分析當時的通俗戲劇業者，如何運用其所知的亞洲原料，設計出合於觀眾所需求的閒適趣味。除了以表演風格與舞台設計演變作為切入點之外，本文也關注史料的引用，藉由同時期出版的戲劇年鑑、審查紀錄、戲劇插畫等，分析平面出版與舞台創作對於同一主題的共構，探討十九世紀法國通俗劇場裡的中國／台灣想望。

As a highly-developed entertainment in the nineteenth century, the French popular theatre in the Boulevard du Temple neighborhood was an important visual medium, through which the contemporary audience had an access to the exotic world on the stage. The theatrical scenes of Chinese characters and customs, which dated from the late seventeenth century, by now turned into a part of common knowledge to the “grand public”. In 1813, a successful vaudeville entitled Les deux Magots de la Chine was performed on the stage of the Théâtre des Variétés. Through an analysis of this production and related theatrical events, this paper will examine how the China/Taiwan images were represented on the French stage in the period of the First Empire. To provide a more complete understanding of this production, 1 will build my argument on the review in the almanacs, the opinions of the censorship commission, unpublished dramatic texts and theatrical pictures. Such a cross references help to deliver a more c1earprofile of the artists' and the audience's Far Eastern imagination.