| Summary: | 碩士 === 國立臺灣藝術大學 === 戲劇學系 === 107 === The text and presentation of the Contemporary Legendary Theater "Waiting for the Godot" was adapted and directed by Peiking Opera actor Wu Xingguo. After finding out that the Beckett International Copyright Center in France forbids the use of live music, Wu Xingguo focused on retaining the musical characteristics of Peiking Opera, avoiding the presentation being no different from western theater drama because of the absence of Peiking Opera music. The features of adaptation include the diversifications of rhythm, rhyme and pitch such as lyrics, Yunbai and Jingbai.This article analyzes the script text and the stage presentation. The text part involves dialogue, character image and stage instruction, discussing the deletion of dialogue, vocabulary conversion or rewrite, rhythmic adaptation and new edition, vulgarization and harmonization. The stage presentation includes clothing and makeup, performance and stage set. This thesis is based on the theory of cross-cultural theatre by Patrice Pavis, through the six types of cross-cultural theatre classifications, five types of cross-cultural adaptation techniques and the hourglass model.
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