一九八〇年金世傑的《荷珠新配》改編自京劇《荷珠配》，點燃台灣現代 劇場的第一響炮之後，台灣現代戲劇進入百花盛開、眾聲喧嘩的新紀元，也擺脫 三十年來掌控台灣現代劇場的反共抗俄意識形態。此非台灣現代劇場首次採用傳 統素材之作，卻是史無前例地引起龐大回響的戲劇，乃因舊瓶裝新酒，而新酒内 容適度反應當時的社會變遷，其表演方式亦融合傳統京劇和西方現代戲劇表演的 特色，開啟中國文學再現的新樣貌。台灣現代戲場的文學改編，可見時代的刻痕 和詮釋者的生命探索，而政治扮演極其重要的影響力。此篇論文將借用詮釋學理 論，討論台灣近五十年來七韵文學改編劇作，包括解嚴前的《孫、飛虎搶親》、《武 陵人》、《荷珠新配》和《暗戀桃花源》，及解嚴後的《白水》、《曹七巧》和《山 海經》等七齣作品；探討台灣現代劇場如何挪用中國文學，以反應大時代的遞嬗 和創作者個人生命的探問。

Taiwanese Theatre has started a new age of diverse and splendid performances, free from ideology of anti-communism, a prime example is the Lanlin Theatre Troupe,s The New Match with Hezhu in 1980 which was adapted from the Beijing Opera The Match with Hezhu. It is not the first adaptation in Taiwanese theatre history, but nevertheless has been received favourably by critics and audiences. It not only demonstrates the contemporary Taiwan society, but also successfully combines the two styles of Chinese classical opera and western modern theatre. It starts a new interpretation of Chinese literature in modern Taiwan. This essay attempts to discuss the significance of adaptation of Chinese literature on Taiwanese theatre, based on the theory of Hermeneutics, focusing on the seven works made by Yao Yi-Wei, Zhang Xiao-Feng, Jin Shi-Jie, Stan Lai, Tian Qi-Yuan, Liu Liang-Yan and Wang Rong-Yu, in order to examine how impact the adaptation of Chinese literature on the director/playwrighfs individual life and his times.