自解嚴之後，台灣劇場風起雲湧。從1990 年起，文建會致力推展社區劇場，至今在台灣各角落，社區劇場以不同型態呈現多元的面貌。南風劇團創團已二十二年，發展初期，外界曾以「社區劇團」定位之；於中期，不想受限於社區劇團的定位，不斷的向歐美、日本等外來劇場學習，力圖轉型為「專業化」的現代劇團；從近期劇團的創作走向，則轉往台灣本土文學尋找創作養分。筆者以參與觀察者的角度，分析歸納南風劇團三個階段的創作脈絡與流變。試圖以文化的視角探討南風劇團不斷的實驗探索自我的定位，建構劇團的創作理念與美學的歷程。過程中展現一個台灣在地劇團身處在台灣後殖民情境，對自我文化認同和追尋自身文化主體的企圖。

After the lifting of martial law, Taiwanese theatre has been rapidly developed. Since 1990, Council of Cultural Affairs has promoted Community Theatre with great effort. Thus, Community Theatre has prospered and grown in popularity, and it has been presented in multiple faces in every corner of Taiwan until now. At the beginning of its development, Spring Wind Art Theatre was once positioned as “Community Theatre.” It was able to fully present a concept of “localization” of community theatre under the cultural trend of post-colonialism in Taiwan. However, in the middle of its development, the troupe did not want to be solely limited to the position as Community Theatre; as a result, it constantly learned from European, Japanese and other foreign theatre cultures, expecting to be transformed into a professional modern troupe. The latest change of Spring Wind Art Theatre is that it has turned inward to look for inventive ideas from Taiwanese local literature, due to its cultural self-awakening. Spring Wind Art Theatre continued experimenting to explore its own positioning, which attempted to build its own theatre aesthetics from its own culture. During the process, even though the troupe is aware of the importance of Taiwanese culture, it is still strongly challenged in the aspect of how to counterbalance the overwhelming international culture around it. Therefore, Spring Wind Art Theatre decides to go back and seek to re-establish a cultural identity and subjectivity of its own through a series of theatre works based on Taiwanese literature adaptations.