臺灣現今的藝陣表演方式有許多種，各個團體編排的作品展現自我特色，讓觀賞者瞭解臺灣本土的藝陣文化。本研究目的在於探究戊己劇團作品創新理念，以及展現成為具有臺灣本土特色的表演，並瞭解作品中的元素如何運用在地轉化進行行銷，讓觀眾產生熱烈迴響。研究對象是以臺中戊己劇團藉由在地化之轉化相關理論進行作品分析，再運用觀察法與訪談法，分析戊己劇團的兩首作品編創手法、作品風格與道具運用與臺灣本土傳統藝陣之關係。分析結果發現戊己劇團作品的編排手法說明近年來的藝陣轉變，在全球化的趨勢下，其轉化方法具有獨特的表現手法，將雜技與新馬戲等綜合表演藝術技法，融合過去藝陣基底，開創出新的編創風格，將臺灣原有被人忽略的民俗藝陣，重新賦予新的意義，透過創新的包裝轉化後，激發青少年傳承臺灣傳統、廟會藝陣，再次讓民俗藝陣有了新的特殊意義。本研究結論：戊己劇團作品藉由動作的在地轉化，進一步讓觀眾間接瞭解廟會藝陣文化意涵，從藝陣文化動作的轉化，擺脫在地性的限制，進而轉化成為一種新的表演形式，而這種表演型態已漸漸成為表演主流。

There are many kinds of folk art parade performances arranged by various troupes in Taiwan today. Each displays its own characteristics, allowing viewers to understand Taiwan's local art culture. The purposes of this study were to explore the innovative ideas of the Wuji Troupe, and to understand how aspects of their work are transformed through localized features and marketing to please their audience. This study employed observation and interviewed to analyze the relationship matrix between layout, style, and props usage within the works of the Taichung Wuji Troupe, and its expression under the guiding principle of transformation through localization. The analysis has shown that the Wuji Troupe illustrates the transformation of folk art parades in recent years. Aligned with the spirit of globalization, their uniquely expressive techniques draw on the past of folk art parades plus various performance arts, such as acrobatics and new circus, to create a brand new style that rejuvenates the meaning of the folk art parades. Through these innovative transformations, the Wuji Troupe's works have not only stimulated a younger audience to inherit traditional folk art parades in temple fairs and understand their cultural implications, but have also evolved into a new performance type which has gradually become mainstream.