傳統戲曲曾在西方戲劇的衝擊下沒落、變化，並力圖再崛起；而在不斷新異化的新科技文明和創意風潮衝擊中，以反映現實生活和西方文化為主軸發展的當代戲劇、電影、電視，也必須尋找新的重生契機。戲曲所表現的古典文學和劇場藝術情境，是中國戲劇的舊傳統；但當它被引入當代戲劇，作為激盪的觸媒時，舊傳統便成為刺激新與變的實驗憑藉。高行健被稱為當代先鋒派劇作家。他在1980 年代開始借鑒傳統戲曲，以創新的劇作反映時代問題，試圖改變原屬於西方的，已漸呈僵化的現代劇場。他以新舊交融的《車站》、《絕對信號》、《野人》、《彼岸》，描寫社會改革問題；以「現代折子戲」《躲雨》、《獨白》寫演員條件與訓練，舞臺人生與現實世界的重疊參照；其他如《聲聲慢變奏曲》、《生死界》、《對話與反詰》、《夜遊神》、《冥城》、《逃亡》、《山海經傳》、《八月雪》、《叩問死亡》等劇，則以充滿性別差異的觀點，反省思考其所見的人性與人生。本文分析在臺灣出版或刊登的十七種高行健劇作，歸納高氏將中國傳統戲曲表演概念融入劇作的方法，探討其劇作運用傳統戲曲、古典文學和藝術元素的各種新思考與創作試驗，並從其劇作所呈現的當代戲劇思想，觀察現代與傳統文學、戲劇素材在當代
劇場激盪的新異性變化。

Under the impact of the western drama, traditional Chinese opera faced its downfall and transformation, and was seeking its renaissance. On the
other hand, with the unceasing demand for ever-new technology and innovative thinking, contemporary play, film and TV drama that are mainly developed to reflect reality and the Western culture also need to find its revivification. Two traditional traits of Chinese drama--classic literary text and drama performing art represented in Chinese opera--are
introduced into contemporary drama as media stimulating experimental improvement and transformation on the ground of the old tradition. Gao
Xingjian, hailed as contemporary Avant-garde play writer, owes a debt to
traditional Chinese opera since 1980’s. He tries to rejuvenate the estern-rooted, suffocated, modern drama by borrowing concepts of traditional Chinese opera: his works consisting of traits of modern and
traditional, such as Bus Stop, Signal Alarm, Wild men, The Other Shore,
attacks problems deriving from social reform; works taken the form of
“Modern selected scene”, such as , Shelter the Rain and Soliloquy
describe the training and requirement of actor, and point out the mutual
referential between stage and reality; other works like Transition of
Sheng-Sheng-Man, Between Life and Death, Dialogue & Rhetorical , Night Patrol Deity, Dark City, Escape, Collection and interpretation of the Mountains and Seas, August snow, Inquiring the Death, give reflective insights about humanity and life in a viewpoint of sex difference. This article, including analysis of the seventeen of Gao’s works published in Taiwan, aims to explore how Gao draws concepts from traditional Chinese opera, and integrates traditional Chinese opera and artistic elements of classic literature into his innovative experiment; furthermore, to probe into the contemporary drama concept represented in his plays to observe how an innovative and transforming correspondence was stressed between modern and traditional literature, and drama material.