本文以何冀平剧作中的“闯入者”形象为切入点，进行具体的文本分析，揭示 “闯入者”形象在何冀平研究中的独特价值。本文分为三个部分：第一部分整理何冀平在陕北、北京、香港两地的创作，描绘何冀平戏剧创作的整体情况。本章以时间为序，理出何冀平创作历程中的三个阶段，并指出其阶段性特点以及其创作的重要特点。第二部分分析何冀平剧作中的“闯入者”群像。指出何冀平北京时期和香港时期创作的“闯入者”形象之间的联系与区别，并分析这些“闯入者”形象出现变化的深层原因。第三部分分析何冀平塑造 “闯入者”形象的技巧。为了让“闯入者”的形象更为丰满动人，何冀平使用了许多技巧，主要包括：为“闯入者”的出场蓄势、让“闯入者”一上场即展示个性、在具体复杂的人物关系中刻画 “闯入者”的圆形性格、在戏剧高潮时让“闯入者”的动作线达至顶点。

This thesis focuses on the images of intruders in Kei Ping Ho’ s dramas .Through the analysis on the images of intruders , I attempt to indicate the special value towards the research in Kei Ping Ho’ s dramas .This thesis is divided into three parts .The first section deals mainly with general situation of Kei Ping Ho’s dramas .By tiding up all the Kei Ping Ho’ s dramas that can be found, I divide Kei Ping Ho’ s production process into three steps and indicate the characteristics of her creation at each step .Then ,I will indicate the significant characteristics of her every dramas .The second section deals with the images of intruders in Kei Ping Ho’ s dramas. I will indicate the Relationship and difference of the images of intruders in her dramas , and analyze the deep-seated reason why the images of intruders vary when Kei Ping Ho works in Beijing and Hong Kong.The third section deals with the means which are used when Kei Ping Ho describes the intruders in her dramas .the means are discussing the intruders before he go on stage , impressing the audience when the intruders go on stage , displaying different disposition of the intruders when he faces with diverse types of people, revealing his best disposition at the catastasis.