本文從文化政治角度切入，首先提出香港戲劇派生自中國戲劇，而在六十年代與西方當代劇場接軌，發展至八十年代，因「一九九七」歷史主權交接問題而形成本土主義，並漸漸與香港戲劇主體性有多方面的互動。當代香港戲劇藝術，美學實踐混融了現代主義與後現代主義，文化上是一種主體建構。九十年代，由於要反思本土文化迫切的命題，呼應了西方後現代主義美學，而在分割空間中轉型。香港不少劇場工作者自覺不自覺地參與這建構，有突出的、多元的藝術表現，似乎已形成自覺的美學實踐。本文介紹了陳麗珠、陳炳釗、何應豐三位的實踐，指出他們在自我反照的基調中，或安頓身心而實踐人生，或回應文化而觀照時代，或潛挖生命而呈現內在不安，都各有特點。

With the perspective of cultural politics, this paper briefly traces how Hong Kong Drama originate from modern Chinese Drama, and merge with the development of Western Drama in the 1960s. In the 1980s, due to the historical problem of "1997," when the sovereignty of Hong Kong would be returned to the People's Republic of China, Hong Kong Drama emerged the sense of localism, and interplayed with its growing subjectivity. In the 1990s, many Hong Kong theatre workers participated in the construction of this subjectivity, which shaped Contemporary Hong Kong dramatic arts, that has been transforming in a fragmentary space, and was characterized by its mixing aesthetics of modernism and post-modernism. This paper illustrates the diversity of Contemporary Hong Kong Drama's aesthetic practice with three theatre workers, namely: Bonnie Chan, Chan Ping Chiu, and Ho Ying Fung. Grounding on self-reflection, they develop three difference approaches, treating theatre as the practice of life, cultural criticism, and an expression of cultural anxiety.