美國劇作家黃哲倫的《蝴蝶君》,在1988年版本和2017年版本中呈現了有意味的共同點和不同點。共同點是這兩個版本的同一作者與兩個導演都有意識地運用中國戲曲的舞臺理念來推進劇情的發展,使舞臺營造出布萊希特式的氛圍。不同點在于,1988年的版本中呈現的短暫的戲曲武打場面沒有明顯的故事內容,只是象征性地體現了角色性格的另一面,而2017年的版本有意識地用了四段中國戲曲與舞蹈的演出片段,在內容上切合《蝴蝶君》故事的主題,強化了原故事的邏輯性,加深觀眾的聽覺與視覺印象。以《蝴蝶戀》指代的"梁祝"故事片段的演繹為2017年版的《蝴蝶君》開拓了新的寓意層面,其中所增添的中國戲曲故事與其他表演形式的藝術性和主題性的運用,揭示了戲曲域外傳播的一種新模式。

There are meaningful similarity and difference between the 1988 version and the 2017 version of M. Butterfly created by American playwright David Henry Hwang. The similarity is that the same author and the two directors of the two versions consciously use the stage concept of Chinese Xiqu to promote the development of the plot and create a Brecht atmosphere on the stage.The difference is that the brief fighting scenes in the 1988 version have little to do with the plot,which serve only as a symbolic reflection of the other side of the character,while the 2017 version consciously uses four episodes of Chinese Xiqu and dance,which are in line with the theme of M.Butterfly and strengthen the logic of the original story and the audience’s auditory and visual impression. The interpretation of the episodes from Butterfly Lovers introduces new metaphors for the 2017 version of M. Butterfly. The use of the arts and themes in the Chinese Xiqu story and other ways of acting reveal a new mode of overseas spread of Chinese Xiqu.