理論的旅行不僅要追問適用性問題,還要討論適應性問題。傳統行動素模式在解釋熱奈的《女仆》時出現了不適用性,但回到戲劇符號學原點,可以發現對于后現代戲劇,不是二元對立的結構分析法不適用了,而是二元對立的要素發生了改變,由此產生的"句法"和"語法"也待修正。行動素模式要突破其解釋力半徑,就必須工具創新。新行動素模式仍由三組二元對立的要素組成,發送體與接受體、主體與賓體不變,輔助體與反對體改為建構體與解構體,其關系不再用單向或雙向的箭頭聯系,代之以三個關聯的雙曲線,無限趨近,但又非線性。用之分析《女仆》與《少年派的奇幻漂流》,顯示行動素模式對后現代戲劇甚至新電影作品都具有相當的適應性。

Traveling theory not only asks questions about applicability, but also discusses adaptability. The traditional Actantial Model is not applicable when explaining Genets Maid, but back to the origin of semiotics of theatre, it can be found that for postmodern drama, it is not the structural analysis of binary opposition that is not applicable, but the elements of binary opposition have changed, where in turns syntax and grammar need to be corrected. If Actantial Model wants to break through its explanatory power, it must innovate tools. The new Actantial Model is still composed of three sets of binary antagonistic elements, the sender and receiver, the subject and object are unchanged, the auxiliary body and the opposition body are changed to the constructive body and the deconstructive body, and their relationship is no longer connected by one-way or two-way arrows, but replaced by three related hyperbolas, which are infinite and nonlinear.Using it to analyze Maid and The Life of Pi, it shows that Actantial Model is quite adaptable to postmodern drama and even new film works.