《哈姆雷特机器》是我在台湾所看到的十多出戏中唯一标明为后现代主义戏剧的演出。在演出前后,几乎没有见到报刊的评论文章,倒是在各种扬合的交谈中,听到两种截然不同的评价,褒贬殊异,相去天壤。我在惊讶之余,猜度如此对立的观点,在排除了简单的情感因素之后,或许它超越了对这出戏本身的具体评价,而涉及更广泛、更深刻的分歧,涉及对台湾的所谓“后现代主义戏剧”的认识,也涉及对台湾小剧场、实验戏剧及其发展趋向的评估。我无意在此时触发如此巨大的理论纷争,这篇文章也不是对 The Hamlet Machine is the only one of more than a dozen shows I’ve seen in Taiwan staged as a postmodernist drama. Before and after the performance, there was almost no review articles in newspapers and periodicals. Instead, I heard two completely different opinions in various conversations of Yang He. I was surprised to guess that such a contradictory view, after excluding simple emotional factors, may go beyond the concrete assessment of the play itself and involve a broader and deeper disagreement concerning the so-called “ Postmodernism Drama ”, but also involves the evaluation of Taiwan’s mini-theater, experimental drama and its development trend. It is not true that I did not intend to trigger such a huge theoretical dispute at this time