「當代傳奇劇場」改編自莎翁劇本《暴風雨》(The Tempest)，劇場演出加入呈現原著中沒有露臉的卡力班 (Caliban) 去世的母親西考拉克斯 (Sycorax)，用身體展演對抗殖民者帶來的創傷。以原住民舞蹈戲劇化，再現本島大地之母對外來帝國殖民者的抗拒。本文以後殖民女性主義，探討劇本改編、劇場性以及劇場藝術如何再現文本。「當代傳奇劇場」之舞台改編作品借西方經典，以古喻今，藉由檢視此跨文化劇場展演與運用跨文化主義理論，探討《暴風雨》政治中的女性與「他者」、舞台再戲劇化如何呈現台灣本土議題與表演評論。「他者」化外之民可以莎士比亞戲劇《暴風雨》中野蠻的卡力班為例。卡力班與普洛斯帕羅 (Prospero)，富含後殖民主義被殖民者 vs. 殖民者，原始野蠻vs.文化教養 的二元對立。改編莎士比亞晚年集大成之劇本《暴風雨》，「當代傳奇劇場」藝術總監吳興國，力邀香港電影導演徐克合作，在台灣國家劇院演出《暴風雨》（2004年十二月至 2005 年一月首演），於2010年十月發行兩片表演DVD精裝盒本。從跨文化劇場表演的角度引用杭琪恩 (Linda Hutcheon) 的改編理論、費雪．麗希特 (Erika Fischer-Lichte)「再戲劇化」(retheatricalization) 以及巴爾梅 (Christopher Balme)「劇場性」概念來分析當代傳奇如何融合西方完全劇場、中國京劇的唱腔身段與台灣原住民的舞蹈和儀式，再加上徐克的電影特效和舞台布景的拼貼設計，來發展如巴巴 (Homi Bhabha) 言「文化雜匯」(cultural hybridigy)、多元異聲的跨文化劇場。

Adapted from Shakespeare’s play The Tempest, the performance of The Contemporary Legend Theatre stages Sycorax, Caliban’s deceased mother, to embody the trauma the colonizer brought about. By the theatricality of the aboriginal dance, it represents the mother earth of the island and formulates a resistance to the colonizer. This article uses post-colonial feminism to explore the script adaptation and how the theatrical arts represent the text. By adapting the western canon, this performance tells the ancient imperial and colonial story; meanwhile it implies the present local ethnic and political issues in Taiwan. This paper examines the women and the Other in the politics of The Tempest, the representation of Taiwan local issues through stage retheatricalization, and does the performance review in terms of Interculturalism. The “otherness” can be exemplified by the barbarian Caliban in Shakespeare’s play The Tempest. Caliban and Prospero are imbued with the binary opposition, i.e., the colonized vs. the colonizer, and the aboriginal barbarous vs. the cultural cultivated. This paper applies Linda Hutcheon’s theory of adaptation, Erika Fischer-Lichte’s “retheatricalization,” and Christopher Balme’s theory of “theatricality” to analyzing this production. It combines western theater, Chinese Peking Opera, and Taiwanese aboriginal dance and ritual. In this way, it develops Homi Bhabha’s “cultural hybridigy” in the intercultural theatre of heteroglossia.