1986年，當代傳奇劇場改編莎劇《馬克白》爲《慾望城國》 後，旋即引起台灣劇場界一片譁然，此後，該劇團便致力於跨 文化改編的展演。該劇團的跨文化改編一直以來藉由西方經典 名著來提振台灣日漸頹圮的京劇發展，但這樣的跨文化改編卻 也引起台灣觀眾支持與反對的聲浪。2008年，當代傳奇劇場三 度改編尤里匹底斯的希臘悲劇《米蒂亞》爲《樓蘭女》，雖說該 劇企圖保留原典的主題與架構，但是卻無法呈現出原典人物的 多層次感，換言之，劇中人物扁平且缺乏立體感，甚至被抨擊 爲缺乏人文主義的「文化拼貼」。爲深入探究該劇跨文化改編的 問題，本文採魯斯頓.巴魯恰(Rustom Bhamcha)的跨文化硏究 法來探討當代傳奇劇場《樓蘭女》跨文化改編的相關議題，並 分成三方面來剖析：（一）探究《樓蘭女》改編的背景、動機與 展演，（二）原典與改編劇之間的比較，（三）該劇跨文化改編展 演的問題。藉由本文的探討，探究出尤里匹底斯的戲劇在當代 傳奇劇場的跨文化詮釋下所產生的問題。

After the Contemporary Legend Theatre adapted William Shakespeare's Macbeth into The Kingdom of Desire in 1986, the troupe has aimed at producing intercultural adaptations. On the one hand, the troupe has had the Western classics enrich the performance of the declining Peking Opera in Taiwan. On the other hand, the troupe's intercultural performances have provoked a great deal of controversy to Taiwanese audience. In 2008, the Contemporary Legend Theatre readapted Euripides's Medea. Although the adaptation attempts to preserve the main theme and the structure of the original, the performance has been attacked and regarded as "cultural collage" because of the lack of humanism. In order to unearth the problems embedded in the Contemporary Legend Theatre's Lou Lan Nu (Medea), I adopt Rustom Bharucha's approach of interculturalism in theatre studies to discuss the related issues. In this paper, I would like to take the Contemporary Legend Theatre's Lou Lan Nu as an example and propose to discuss the related issues in three aspects: 1) to explore the adaptor 's motive for producing and staging Euripides's Medea, 2) to compare the original and its adaptation,and 3) to display the problems of the Contemporary Legend Theatre's intercultural interpretation of Medea.