各個時代的劇作家常透過作品來呈現其理念，除了娛樂之外更期望能達到教化人心的功能。不同的風俗語言或許阻斷了溝通的可能，但最根本的人性卻是相通的。文化是經由生活產生，東西方的劇作家互相取材，來呈現嶄新面目的劇作。不僅豐富人類的精神生活，也爲當時的社會現象智下印記。李行道的元雜劇《灰闌記》生動描述了母愛親情及社會黑暗，經過德國布雷希特的改編，成了嶄新面貌的《高加索灰闌記》。除了運用多國劇場與文學元素，以豐富其劇作藝術陸之外，更重要的是，他創新並實踐自身劇場理念。本文將先分析元雜劇《灰闌記》以及《高加索灰闌記》的特點，繼以帕維斯跨文化理論的角度，分析由中國到德國的改編是否成功，如何因爲劇場特色產生了不同的面貌。

Playwrights of each age always express what they want to say by means of dramatic works in order to achieve the purpose of educating the audience with entertainment, Even though communication maybe blocked by different customs and languages, nevertheless the basic humanity still remains the same. Culture is created from real life. Both Western and Eastern dramatists borrow subjects from each other, and present us many brand-new forms of dramatic works. They not only enrich our spiritual life, but also lead us to explore the characteristics of different society. Among Yuan Zaju plays, Li Xingdao's Huilanji (The Chalk Circle) depicts vividly maternity and the dark side of Yuan society. Adapted by Bertolt Brecht in Germany, the Yuan play transferred into a new play, The Caucasian Chalk Circle. Brecht enriched this play through applying theatrical and literary elements from several foreign countries, and importantly, his talent of creating and practicing his own theatre ideas. This paper would first analyze the characteristics of both Huilanji and The Caucasian chalk Circle. With Partice Pavis' theory of Intercultural theatre, I will examine if the German adaptation is successful and explore bow the new work was impacted by Brecht's own theory.