編創由生活出發，我在雲門舞集1974年編創的《待嫁娘》，即是由自身戀愛經驗所得到的靈戚所編：舞作的時空設在民初未見過丈夫的少女在婚前的心理寫照。當時將舞作構想、提出後，有幸得到賴德和老師的青睞，為此作品作曲，並成為雲門舞集早期國內外巡迴作品之一，國內外共演過兩百多場，成為雲門舞集早期觀眾的共同回憶。之後我於1988年在美國發表《White Kerchief》，以同樣的音樂和結構，用芭蕾形式和技巧為媒介，表達當時對西方婚姻的看法，並同時演出《待嫁娘》，讓觀眾對照了東方新娘和西方新娘不同的性觀念和婚姻觀。2007年《待嫁娘》再度演出，我同時也發表新作《待嫁娘II》，郭奈翰先生依我構想為新舞作譜寫音樂，及用現代舞的結構和肢體語彙，來映照當代青年複雜和多變的男女關條和最後選擇放棄結婚的婚姻觀。身為編舞者，我察覺到因環境的變遷和女性主體意識的抬頭，社會對於男女關條和婚姻的看法一直在改變，也因此這三個前後相差33年的作品雖都以描述「待嫁女兒心」為主題，但卻明顯呈現出不同的表現手法和結局。我將先闡述這三個不同舞作之創作緣起和理念，再進一步的將三個舞作及相關設計之異同做進一步的分析研究；最後將以舞作回響與反思做為結束。

This article aims to interpret and further analyze three pieces related to ＂Bride-to-be＂ I choreographed. They are《Red Kerchief》, 《White Kerchief》 and 《White Kerchief II》. 《Red Kerchief》 was inspired by my parents' love experience, in which the bride- to- be never sees her husband before their marriage. This piece has been performed over 200 times around Taiwan and abroad; and has become the collective memory among audience of early days of Cloud Gate Dance Theater where I was the founding member. It is also a great honor to have Mr. De-Ho Lai, a famous Taiwanese composer compose the music for it. 《White Kerchief》 was choreographed in Unite States in 1988. With Ballet vocabulary, this piece expressed my viewpoints on western marriage. At the same time,《Red Kerchief》 was performed on stage as well so that the audience could compare the differences between eastern and western marriages from various dance styles. In 2007, 《Red Kerchief》 was performed again and 《White Kerchief II》 was created. 《White Kerchief II》 was a more modern dance form in order to express complicated relationship and human emotions in marriage of modern times. As a choreographer, I am aware that female consciousness and the social concept of value about love relationship and marriages have changed as time goes by. Therefore, I would like to deeply explore these three created pieces along with me over 30 years.