當今台灣現代劇場的改編製作，大多是從西方外語世界移植到台灣來的改編作品。北藝大於2007年底，由戲劇學院專任教師陸愛玲編導的《吶喊竇娥》一劇，以現代劇場的形式，將元代關漢卿的經典劇作《竇娥冤》嘗試做一改編。作為現代劇場寥寥可數的古劇新編之作，我們既驚嘆於導演強烈、前衛的舞台風格，卻也不免帶著一點莫名的疑惑－何以戲劇中顯然要努力博取同情的苦情女主人公竇娥，卻無法獲得觀眾的真心同情？難道是在場的觀眾絲毫沒有同情心嗎？這個現象是怎麼發生的？問題到底出在哪裡？本文即嘗試從多元的舞台藝術、原典的單音詮釋所構成的矛盾，探究現代劇場這樣一個既令人欣喜、又叫人疑惑的嘗試，討論經典古劇新編的實驗意義所涉及的不僅是舞台表演和藝術效果，它還是一種涉及古今不同文化現象、意識形態，以及改編者的自覺意識對傳統的探索和反思。

In nowadays Taiwan, most modern stage adaptations have been transplanted from western world. In the end of 2007, at Taipei National University of the Arts, Lu Ai-Ling, Associate Professor of School of Theatre, through the form of modern stage, attempted to adapt The Ancour of Dou E of classical Dou E Yuan by Guan Hanqing in the Yuan dynasty. For The Ancour of Dou E has been one of few, new modern stage adaptations of ancient classics, we both marvelled at the modern, avant-garde stage style of the director, and were perplexed about the reason why the infelicitous actress, Dou E, apparently tried so hard to ask for pity but couldn't win any truthful sympathy of the audience. Could it be that the audience present doesn't have any compassion? How could that happen? What was the problem? This paper undertakes to explore the modern stage, such a delightful but also perplexed design, through analysizing the paradox constitutive of multiple stage arts and monologic description by the original text. In addition, this paper discusses the experimental meaning of new adaptations of ancient classics, which involves not only stage performance and art effects, but also the different cultural phenomena, ideology and the adaptor's self-consciousness of exploring and reflecting on traditions.