本文以吳興國的《李爾在此》為例探討近年來華文劇場中莎劇改編的新策略及其意義，特別是近年來新興的獨腳戲的改編形式與演員主體性的關係。作者從莎劇角色與舞台演員之間的關係來探討自傳式改編的風格和成因，並指出，別具特色的非英語的莎劇改編提供了非關政治的解讀方式，彰顯了演員的主體性（subjectivity）。

Michael Bristol coined the term “big-time Shakespeare” to describe institutional appropriation of Shakespearean values. In twenty-first century Asia, Shakespearean performance is inflected by not only political agendas but also highly personal ones; hence the emergence of “small-time Shakespeare.” Wu Hsing-kuo, a veteran jingju actor and director based in Taiwan, recently staged his third jingju adaptation of Shakespeare. Titled Lear Is Here, this solo performance mobilizes (auto)biographical differences and connections between the actor and his characters to reconcile personal identity crises and to expand the representational practices of jingju.