《孫飛虎搶親》寫成於1965年，是姚一葦先生創作的第二部劇作。姚先生企圖結合傳統與西方、古典與現代，在一個大家所熟知的故事中注入當代人之觀念，因而以「天下奪魁」的《西廂記》為故事之本，延續長亭送別之後的情節而別出蹊徑，而成為「姚一葦藝術成就最高的傑作」「什麼是她們本來的面目？」這是第三幕中孫飛虎得知崔紅換裝真相後對張君銳的提間，卻同時也可視為對劇中主要人物的提問：「什麼是他/她們本來的面目？」更可以因此而延伸為 (同樣也是孫飛虎的提問)：「我......是誰？」作者取材於《西廂記》、立基於古典、延伸向現代的《孫飛虎搶親》，或許全劇就是這麼一個提問吧。如前所述，以五次的換裝事件成就此一詰問，不論結局是開放的、模糊的，或是崔雙紋依舊回歸「體制」、得配門當戶對的夫婿。經由上述的爬梳與述論，彷彿浮現了「辯證的過程才是主體」這樣的映像，作者以此手法提出現時的問語，不論是顛覆也好，或是翻案也罷，都造就了另一類孫崔紅張的鮮活形象，以及句句叩入心扉、聲聲縈繞耳際的無窮問。

Sun Feihu, the Snatcher of Wedding (孫飛虎搶親), written in 1965, is the second play as well as the masterpiece of Prof. Yao Yi-wei. Inthis play, the author expressed the new idea in the old story well-known as The West Chamber (西廂記). "What is their true colours?" This question was posed by Sun Pei-hu in Act III when he realized that the woman he is going to marry is not the one he really wants to marry. According to this, we could pose another question, "Who... am I?" to the leading roles in the play. Thus, the whole play seems to present "the process of the dialectical is a corpus". Through these questions and dialectical, the author expressed new images of Sun Fei-hu, Tsuei Shuang-wen, A-hong and Chang Jun-rei as well as posed the everlasting ask.