20世纪末期，随着“新冒险舞团”（New Adventures）的建立，马修?伯恩(Matthew Bourne)的作品源源不断地涌出，在当时经典舞剧现代化改编的热潮中脱颖而出，自此之后他改编创作的《天鹅湖》(1995)、《灰姑娘》(1997)、《睡美人》(2012)等多部舞剧都在以全然不同的呈现方式强烈地冲击着人们的眼球。在作品和舞团的背后，是他极具个性的编导思维及对经典芭蕾舞剧颠覆的冒险精神，本文由马修?伯恩经典改编过程中独具一格的创作特点入手，以上述三部作品为例，具体展开对他的舞台作品“戏剧性”这一特点作深入分析研究。
第一章中本文从马修·伯恩的经历出发，通过介绍其学习及家庭背景凸显他对于舞蹈和舞台的热爱，在两个舞团成立过程中积累丰富的舞台及作品经验，逐渐形成其“戏剧性”创作特点。第二章中本文站在与经典芭蕾舞剧对比的角度，分别从舞剧人物、舞蹈语汇等舞蹈内容方面，通过舞剧叙事的社会性和当下性来体现其独特的戏剧性。第三章从作品中着重体现马修·伯恩舞剧改编的形式特点，叙述马修对于舞蹈结构、舞台美学的独特设计，从而为其舞剧的内容服务，在内容和形式的辩证统一下体现马修·伯恩舞剧独特的“戏剧性”特点。

In the late 20th century, with the establishment of New Adventures, Matthew Bourne's work continued to emerge, standing out in the wave of modern adaptations of classic dance dramas at the time, and since then His adaptations of "Swan Lake" (1995), "Cinderella" (1997), "Sleeping Beauty" (2012) and many other dance dramas are striking people's attention with completely different presentations. Behind his works and dance troupe are his unique choreographic thinking and his adventurous spirit to subvert classic ballets. This article starts with the unique creative characteristics of Matthew Bourne's classic adaptation process. Based on the above three works Taking his works as an example, he will conduct an in-depth analysis and research on the "dramatic" feature of his stage works.
In the first chapter, this article starts from the experience of Matthew Bourne, and highlights his love for dance and stage by introducing his study and family background. "Dramatic" creative features. In the second chapter, from the perspective of contrasting with the classical ballet, from the aspects of dance characters, dance vocabulary and other dance contents, the thesis reflects its unique drama through the sociality and presentness of the narrative of ballet. The third chapter focuses on the formal characteristics of the adaptation of Matthew Bourne's dance drama from the works, and describes Matthew's unique design of dance structure and stage aesthetics, so as to serve the content of his dance drama, and embody Matthew Bourne under the dialectical unity of content and form. The unique "dramatic" feature of Hugh Bourne's ballet.