ABSTRACT This article argues that the artistic-cultural work of the late Kuo Pao Kun (1939–2002) from the mid-1990s commenced on what tentatively can be called an extraterritorial theatre practice that engaged with the modern state’s capacity to make national identity singular in the interests of political, military and economic goals, and in which cultural formation and identity must exceed the nation-state’s purview. The present, “globalised” moment requires freedom from local jurisdictions: this is the line of thought regarding a truly contemporary theatre’s direction cut short by his demise in 2002. Two plays represent Kuo’s new direction: Descendants of the Eunuch Admiral (1995) and the The Spirits Play (1998 and 2000). His deliberations on contemporary art and culture draw from older ideals of modern cultural formation and is conjoined, it may be contradictorily, with postmodernism’s rhetoric of the decentred and the multiple; but if so, this contradiction becomes an adumbration of the fraught attributes of the contemporary.

中文翻译：

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超越民族身份：郭宝Kun的当代戏剧和开放文化

摘要本文认为，从1990年代中期开始的郭宝Kun（1939–2002）晚期的艺术文化工作始于一种可以被称为域外戏剧实践的尝试，这种实践与现代国家使民族身份单一化的能力有关。政治，军事和经济目标的利益，在其中文化的形成和特性必须超出民族国家的职权范围。当前的“全球化”时刻要求不受地方管辖权的限制：这是关于一个真正的当代剧院的发展方向的思路，该方向因其2002年的去世而被缩短。两部戏剧代表着郭的新的发展方向：the官海军上将的后代（1995）和精神剧（1998年和2000年）。他对当代艺术和文化的审议源于现代文化形成的较早理想，并且相互结合，它与后现代主义关于分散的和多重的修辞学是矛盾的。但是，如果是这样，这种矛盾就说明了当代人的烦恼。