日本的近代戲劇， 從「演劇改良（ e n g e k i k a i r y o u ） 」、「新派劇 （shinpa）」到「新劇（shingeki）」，始終以追隨、模仿西方的戲劇表現樣式為 主要。我們當然可以將日本的近代戲劇視為某種「東方」與「西方」戲劇文化交 會的產物。而這種交會是在帝國主義的經濟霸權當中所形成的。但是，出現於六 ○年代的日本戰後「小劇場運動」，卻是與西方的前衛戲劇運動同步，在東方＝ 西方的「共時性」的相對關係當中展開。一九七四年，鈴木忠志與能劇演員觀 世壽夫（Kanze Hisao）合作，演出希臘悲劇「特洛伊的女人」，在這個作品當 中，鈴木企圖以萃取自日本傳統戲劇的表演身體技術與概念來演出希臘悲劇。鈴 木忠志將日本敗戰後滿目瘡痍的景象，與「特洛伊的女人」的文本相互重疊。本 文企圖透過對於「特洛伊的女人」的作品分析，觀察一個「東方的」導演如何在 其所處的文化情境當中，以「非西方的」表演形式來呈現「西方的」劇本。

The main practices of modern theater in Japan, from engeki kairyou, shinpa to shingeki, had imtitated and pursued Western styles of theatrical presentation. We could certainly view modern theatre in Japan as the product of the encounter between the “Eastern” and “Western” theatre cultures, which resulted from the economic hegemony of imperialism. Yet the post-war Little Theatre Movement in Japan, which emerged in the 1960s in an Eastern-Western concurrent relation, paralleled the avant-garde theatre movements in the West. In 1974, Suzuki Tadashi and Kanze Hisao, the Noh performer, collaborated in the production of the Greek tragedy, The Trojan Women, in which Suzuki Tadashi attempted to enact the Greek tragedy through body techniques and concepts distilled from Japanese traditional theatre performance. Suzuki Tadashi crossimposed the ruinous landscape of post-war Japan with the text of The Trojan Women. This essay attempts to look into how an “Eastern” director, in his cultural context, enacted a “Western” play by means of a “non-Western” form in the case of Suzuki Tadashi’s The Trojan Women.