施清婧編著的《中國舞臺上的塞繆爾·貝克特--
跨文化戲劇演出研究(1964-2011)》分7章，以各地不
同時期的十餘個典型貝克特戲劇演出案例為對像，通
過還原表演的社會歷史語境，考察其演出動機、編演
策略、演出效果與各歷史階段不同側重點之間的呼應
關繫，並借此說明：這些演出拓寬了貝克特戲劇在非
歐美文化中的闡釋可能，同時也反映了中國導演、演
員借貝克特所表達的、具有鮮明時代和本土特征的思
考，而這也是貝克特作品在中國始終與時俱進，久演
不衰的重要原因之一。
長期以來，國內外貝克特批評界往往重文本而輕
表演，即譯介歷史和文本研究做得比較詳細，而對戲
劇的實踐維度關注不足，導致演出研究成果較少，也
無法說明為什麼一個典型的西方荒誕派作家會成為漢
語舞臺久演不衰的經典，本書通過詳細的例證在此方
面彌補了相關研究的缺憾。

Textual Notes
Abbreviations
Prologue
Chapter One Introduction
1.1 Literature Review of International Beckett Criticism
1.2 Literature Review of Chinese Beckett Criticism
Chapter Two Theorizing Chinese Beckett Performance
2.1 Boundary Crossing: Beckett as Cultural Translation
2.2 "Other" Becketts in Intercultural Theater
2.3 Acting Beckett from the Marginal
Chapter Three Political Beckett: First Trials
3.1 Icebreaker: Gao Xingjian and Chezhan
3.2 Meng Jinghui: Angry Young Men Waiting for Godot
3.3 The Premature Godot: Premiere of Theater Quarterly
Chapter Four Beckett as Postmodern Laboratory
4.1 The Waiting of Three Sisters: A Chan Collage
4.2 "Mo lei tau" Beckett: What if Godot Comes?
4.3 Moveable Feast: Beckett in Ancient Chinese Gardens
Chapter Five Gendered Beckett in Consumerism Culture
5.1 Only Bored Women Waiting for Godot?
5.2 "Hard Man" and Woman Godot
5.3 Minnan Endgame: Gendered Consumption
Chapter Six Co-produced Beckett: Negotiating "Authority
6.1 "Beckett Workshop" as Empowering Site
6.2 Western Experience: Enlightenment or Domination in
Disguise
Chapter Seven Can the Indigenous Act Back?
7.1 Performing Beckett, Reforming Jingiu
7.2 Beckett Danced on Chinese Stage
7.3 Dialogue with the Masters
Conclusion
Works Cited