本文从比较角度出发探讨近年来海外著名的三出昆曲《牡丹亭》──彼得.赛勒思的《牡丹亭》、陈士争的《全版牡丹亭》与白先勇的青春版《牡丹亭》。以国家主义的角度来看,这三出戏为海外不同族群“创造”了不同的理想化的“国家”。本文亦谈到在保存与推广“口传与非物质人文遗产”时,可运用“吊诡”作为牵制的力量与手段,在物质与非物质、传统与现在、文化与国家之间为中国传统戏曲找到一条新的出路。 This article from a comparative perspective to explore overseas famous three out Kunqu Opera “Peony Pavilion” ─ ─ ─ Peter Seiler’s “Peony Pavilion”, Chen Shizheng’s “full version of Peony Pavilion” and Bai Xianyong’s youth version of “Peony Pavilion” . From a nationalist point of view, these three plays offer different idealized “nations” for different ethnic groups overseas. This article also talked about the use of “paradox” as a containment and means to contain and promote “Oral and Intangible Cultural Heritage”, and between material and immaterial, tradition and present, between culture and country Chinese traditional opera to find a new way out.