|dc.description.abstract||During the 1990s, Taiwanese theatre artists were influenced by traditional as well as modern dramatic texts, body training and performing schemes of different cultures. Theatre critics once criticize the contemporary Taiwanese theatre artists for focusing too much on visual and auditory spectacle and lack of cultural awareness when making cross-cultural adaptation. In the twenty-first century, theatre critics observe that Taiwanese artists became more conscious of cultural contexts in intercultural adaptation. They used intercultural resources to reinvent old texts and combined different cultural traditions to address social issues in Taiwan.
Three theatre directors charted in this thesis, Wei Ying-chuan (魏瑛娟), Yen Hung-ya (閻鴻亞), and Katherine Hui-ling Chou(周慧玲), use intercultural strategy for gender debates respectively in Emily Dickinson (艾蜜麗, 2003), Alice in Bed (床上的愛麗思, 2002) and He Is My Wife, He Is My Mother (少年金釵男孟母, 2009, 2010). This thesis considers the three works as disruptive intercultural theatre, examining how they uncover the gender debates in Taiwan. I propose that the three directors aim to subvert the stereotype of cultural bias in Taiwan, particular that of gender stereotypes of marriage, melancholia women, and homosexual identity. They utilize intercultural resources to discuss gender issues in a Taiwanese social context, interfering with some misconceptions of gender.||en_US|