劇場展演中不乏以召喚過去與集體記憶作為呼應當代社會焦慮的作品，此種文化產物及其後續事件提供了將文化意義與記憶重新形塑的經驗空間。1997年引起眾多關注的華山事件乃是由金枝演社的《古國之神─祭特洛伊》一劇所意外引發。此劇可說是面對1996年台海危機的文化性回應，卻在首演後引來警方逮捕與藝文界的抗議，最後竟造就了華山酒廠成為台灣第一個由政府廢棄建築轉為公共藝術空間的代表性園區，也就是現在藝文活動極為活絡的「華山1914文化創意產業園區」。華山事件，肇始也促使了往後更多政府廢棄廠房轉變為藝文空間，看似以藝文界的努力與發聲獲得一大勝利作為美好結局，然而這一整個事件所創造的文化與記憶重塑才是真正呼應引發此事件卻未決的台灣認同焦慮。本文以文化唯物論的觀點結合記憶與社會空間再製的理論，聚焦於華山事件中的劇場展演、記憶銘刻與文化意義的空間再製三者間之錯綜關聯，論證此文化事件乃重新界定了其時代脈絡，並進一步創造出重新定義「台灣性」的文化記憶與意義。

In response to contemporary social anxieties, performances have been used to recall the past and to invoke collective memory. Such cultural productions and their consequential events provide a space of experience that re-creates cultural meanings and re-shapes memories. The Huashan Event was initiated by the theatrical performance Troy, Troy… Taiwan by Golden Bough Theatre in 1997, a cultural response to the political incident 1996 Taiwan Strait Crisis, and followed by a series of cultural and social events including a police raid, protests, and finally turning the performing space, a deserted government winery, into a public artistic space, known as the Huashan 1914 Creative Park nowadays. Thereafter, numerous deserted government properties have been transformed into public spaces. Through making the Taiwanese government return spaces to the public, the Huashan Event seemed to gain a triumphant result, but the struggles for Taiwanese identity that initiated the whole event kept linger on. By applying the cultural materialist approach alongside with discussions regarding memory and social production of space, this paper focuses on the interconnection of performance, inscription of memory, and the spatial production of cultural meanings in the Huashan Event, and argues that this cultural event redefined its contemporary context and further contributed to produce new meanings and memories that redefined a sense of Taiwaneseness in both its artistic and social aspects.