本文透過解讀賴聲川「相聲劇」的風格與形式，思考賴聲川對於「中國」作為民族國家的認識與挑戰。本文首先以邱貴芬思考戰後臺灣文學生產的「翻譯驅動力」觀點，將賴聲川脈絡化在此框架中，並以「傳統」、「鄉土」這兩個概念來分析以中國與臺灣作為支撐民族國家的文化想像。然後再透過酒井直樹的翻譯理論，分析賴聲川「相聲劇」的美學形式與內容。最後試圖回答，在鄉土文學論戰之後的賴聲川，如何以不連續的傳統與歷史，挑戰了民族國家的主體想像？這個挑戰又如何在臺灣的歷史情境中，提示並回答作為問題的「中國」？

The article looks into the way in which Stan Lai challenges the concept “China” as the nation-state by examining the style of his xiangsheng plays. In an attempt to shed light on Chiu Kuei-fen’s notion of the “translation drive,” the article starts with an investigation of the cultural production of so-called “tradition” and “native soil” (xiang-tu), which has supported the cultural imagination of the nation-state in post-war Taiwan. It goes on to analyze Lai’s xiangsheng plays in relation to these two concepts. Finally, inspired by Naoki Sakai’s notion of translation, it argues that the “China” in Lai’s xiangsheng plays presents an alternative to the nation-state by their articulation of the discontinuity of history and the deconstruction of the national subject.