中国当代戏剧的海外接受，从接受对象来看分为中国当代剧本的海外翻译，和中国当代戏剧的海外舞台演出两部分；从接受主体来看，又分成海外读者和观众针对中国当代戏剧作品的欣赏，和海外学者、文艺工作者对中国当代戏剧作品的研究与分析两种。在世界剧场的语境和视野之下，研究中国当代戏剧的海外接受，有助于构建当代华语戏剧圈并深化其在海外的传播与影响，同时为中国当代戏剧在新世纪的发展与繁荣注入新鲜活力。具体而言，论文从四个方面展开论述，在导言和结论之外，主体部分共有四章： 第一章“中国当代戏剧海外接受史述略”，是从时间上，以历史发展的维度厘清中国当代戏剧的海外接受。中国当代戏剧海外接受的第一个时期是以政治文化为主导的初始期，海外关注话剧作为国家外宣系统的一部分，及其所达成的意识形态宣传效果；第二个阶段是过渡转换时期，中国当代话剧在冷战的格局之下，在两个意识形态阵营的接受有所不同；第三个阶段则是多元发展时期，符合当下世界剧场潮流的先锋实验戏剧登上新世纪的大舞台、小剧场，海外商业演出层出不穷。 第二章“中国当代历史剧、社会问题剧的海外接受”，从题材上具体分析了中国当代历史剧和社会问题剧的海外传播情况与特点。中国当代的历史剧因符合海外对古老中国的想象，以现代京剧探索为代表的新历史剧实现海外传播小高潮，新生政权续写的新中国神话也颇受海外青睐，文革时期的革命样板戏更是中国文学海外接受史上浓墨重彩的一笔；中国当代的社会问题剧在国内虽是主流，是国家赞助的外文社译介重点，但海外资本介入的出版机构也有自己的编选倾向，现实主义题材的剧本一直是海外编译重点，尤其以实验形式表达写实主题的戏剧最有海外市场。事实上，中国当代历史剧和社会问题剧在海外的接受具有彼此配合的特点，历史的政治化与现实的历史化相得益彰，同时当代戏剧中的中国现代生活史也受到海外关注，融合了传统文化元素的当代戏剧最合西方观众口味。 第三章“中国当代先锋、实验话剧的海外接受”同样从体裁上分析了中国当代先锋实验话剧的海外接受情况和特点。在海外接受的早期，越是在中国有争议的话剧在海外越有市场，同时关注实验话剧背后的现实主义结构，一些与传统戏曲元素相融合的现代性作品接受度相对较高。当以小剧场为依托的先锋戏剧兴起，海外看到了中国当代剧坛对西方先锋戏剧的效仿，牟森、孟京辉、林兆华等人的独立工作室一时间成为海外的研究重点，小剧场后期的商业化和地下即兴表演同样受到海外关注。随着西方“先锋之死”论调的愈演愈烈，来自西方的戏剧工作者在中国发现了当代先锋性的启示，并将中国舞台视为先锋剧场的新大陆，在跨文化的视角之下，以孟京辉为代表的中国先锋作品也自成一派，呈现出中国当代所特有的“流行先锋”特点，给世界当代剧场以启示。 第四章“中国当代港台地区戏剧的海外接受”是从区域文学的角度，具体分析台湾当代戏剧和香港当代戏剧这两个特殊的现代剧场形态。台湾当代戏剧深受日本剧坛影响，戒严时期话剧一度呈现出诸如“反共”、“抗俄”等刻板主题，而慢慢表现出区域性的特点。在世界剧场的推动下，以金士杰“兰陵剧坊”、赖声川“表演工作坊”为代表的台湾小剧场运动成为海外的关注焦点，随后进入解严时期，“屏风表演班”和“优剧团”备受瞩目。香港地区的当代戏剧，最开始也是作为殖民地戏剧的经典案例进入海外研究视野，随着香港本土意识的萌发，海外关注到学生剧社和大批文人赴港对香港当代戏剧的影响，尤其是杨世鹏、钟景辉、陈尹莹等具有海外背景的作家作品最为出众。随着1984年中英联合声明的发表，海外捕捉到香港戏剧界的身份危机与焦虑情结，这时荣念曾的前卫戏剧作品频频登上海外舞台且备受好评，香港回归后新世纪的香港当代话剧逐渐和世界剧场融为一体。 纵观中国当代戏剧的海外接受，在接受动机方面，以政治为首要目的逐渐发展为审美的多元化，海外对中国当代戏剧的关注逐渐从戏剧外部走进了戏剧内部；在接受主体方面，资本逐渐越过国家政治机构，市场越过政府的意识形态导向直接干预中国当代戏剧的海外接受；在接受对象方面，海外的接受偏好从主题先行、内容为先，逐渐过渡到了看重形式与内容的全方位革新，同时也推动了海外接受形式从以文本为主发展到以舞台为中心；在接受的路径和战略方面，区域性和地缘性的研究逐渐合流，东西方意识形态的对立最终发展到东西对话、东西融合的全球战略。从上述思路来看，在全球化的趋势下推动华语戏剧圈的建立比过分强调区域文学特性更有意义，这也是当今世界各地文化和艺术传播、交融的价值所在。

The overseas reception of contemporary Chinese theatre, from the perspective of the receiving objects, is divided into two parts, the overseas translation of contemporary Chinese drama and the overseas stage performance of contemporary Chinese drama; as from the perspective of the receiving subjects, it is also divided into two parts, the appreciation from the overseas readers and the audiences, as well as the research and analysis from the overseas scholars and literary critics. Under the context and vision of the world theater, studying the overseas reception of contemporary Chinese drama will help build a contemporary Chinese language based drama circle, and deepen its spread and influence overseas. At the same time, it will infuse contemporary Chinese drama with new vitality. Specifically, the dissertation discusses four aspects. In addition to the introduction and conclusion, the main part has four chapters: The first chapter, “Overview of The Overseas Reception History of Contemporary Chinese Drama,” analyzes the overseas reception of contemporary Chinese drama from a perspective of historical development, which has three stages. The first stage is an initial period based on political culture, while the overseas attention is on the drama as a part of the national ideological propaganda system as well as its effects; the second stage is a period of transitional transformation against the background of Cold War, when the receptions from the two ideological camps are different; the third stage is a period of multiple developments, while the avant-garde drama that conforms to the current trends of world theatre is on stage in the 21st century, also ushering in the new age of overseas commercial theatre performance. The second chapter, “The Overseas Reception of Contemporary Chinese Historical and Social Problem Play,” specifically discusses the characteristics of those two genres. As contemporary Chinese historical plays meet the overseas imagination of ancient China, the new historical drama represented by the exploration of modern Peking Opera has achieved a small upsurge in the overseas dissemination; as its sequel, the New China myths written by the new regime are also popular overseas, while the revolutionary model drama during the Cultural Revolution has drawn much attention. As the mainstream genre of contemporary Chinese theatre, social problem plays are also the translation and introduction focus of Foreign Languages Press, which is sponsored by the state. However, publishing houses with overseas capital involvement also have their own tendencies for compilation and selection. The plays with realistic themes are usually their focus, and especially those in the form of experiments have had the most promising overseas markets. In fact, the overseas reception of contemporary Chinese historical drama and that of social problem drama play complementary roles to each other, while the politicization of history and the historicization of reality correspond to each other too. Meanwhile, the history of modern Chinese life represented in contemporary Chinese drama has also attracted attention overseas. Those contemporary plays that have incorporated traditional cultural elements best appeal to the taste of Western audience. The third chapter “The Overseas Reception of Contemporary Chinese Avant-garde Theatre” discusses the characteristics of another genre. In the early days of overseas reception, the more controversial a drama was in China’s domestic market, the better reception it got in the overseas markets. The overseas audience also focused on the realist structure behind the experimental forms, and those plays fusing traditional elements got a relatively high degree of reception. When the avant-garde trend that relied on little theatre rose, the overseas audience saw the contemporary Chinese theatre’s mimesis of western pioneering theatre. During this period, the independent studios of Mou Sen, Meng Jinghui, Lin Zhaohua and others became the focus of overseas research, and the commercialized little theatre as well as the underground-improvised acting also received overseas attention. With the intensification of the “death of avant-garde”, the western scholars are inspired by the avant-garde in contemporary China, and see China as a new continent of avant-garde theatre. From a cross-cultural perspective, Meng Jinghui’s works have represented unique “Pop Avant-Garde” characteristics of contemporary China, and also inspired the world’s contemporary theatre. The fourth chapter, “The Overseas Reception of Contemporary Chinese Plays in Hong Kong and Taiwan” is a specific analysis of Taiwan and Hong Kong’s contemporary theatre based on the regions, and also two special forms of modern theatre. Contemporary Taiwan theatre was deeply influenced by the Japanese theatre. Back in the days of martial laws, there were stereotyped themes such as “anti-communism” and “anti-Russia” in contemporary Taiwan theatre, and gradually represented more regional characteristics. Influenced by the world theatre, the Little Theatre Movement represented by Jin Shijie’s “Lanling Theatre” and Lai Shengchuan’s “Performance Group” has become the focus of overseas attention. After the martial laws period, “The Ping Feng Acting Troupe” and “You Troupe” draw very much attention. Contemporary Hong Kong theatre started as a classic case of colonial drama and entered the field of overseas research. With the emergence of local consciousness in Hong Kong, overseas attention has focused on the influence of student drama clubs and a large number of literati immigrants from mainland to Hong Kong, especially those playwrights with overseas backgrounds such as Daniel S.P. Yang, King-Fai Chung and Joanna Chan. Along with the publication of the Sino-British Joint Declaration in 1984, the overseas audience has captured the identity crisis and the anxiety. During this period, Danny Ning Tsun Yung’s avant-garde drama was frequently staged overseas and earned him wide acclaim. Since the return of Hong Kong in 1997, the contemporary Hong Kong theatre has been gradually integrated with the world theatre. Looking at the overseas reception of contemporary Chinese Theatre and with regard to the motivation of reception, a primary purpose of politics has gradually developed into an aesthetic pluralism, and the overseas attention has also moved from the exterior into the interior of drama; in terms of the receiving subjects, capital has slowly gone beyond the state‘s political institutions, while the market has overcome the government’s ideological guidance and directly intervened in the overseas reception of contemporary Chinese theatre; in terms of the overseas receiving objects, their preference has shifted from a theme-first and content-first approach to all-round innovation that valued both form and content; at the same time, this has also promoted the development of overseas reception from text-based to stage-centered; with respect to the path and strategy of reception, regional and geopolitical research has gradually converged, and the confrontation between Eastern and Western ideologies has finally developed into East-West dialogue and integration as a global strategy. Above all, it is more meaningful to promote the establishment of the Chinese language based theatre circle under the trend of globalization than to overemphasize the characteristics of reginal literature, which also shows the value of today’s dissemination and blending of culture and art all around the world.