前現代、現代與後現代，這個看似在時間軸上所展開的歷史序列，正如酒井直 樹（Sakai Naoki）所指出的，其與世界的地政配置不可分割。以世界為規模所展開的現代 戲劇運動，同時也是戲劇世界化的運動，現代戲劇再也無法侷限在某個特定區域的文化與 觀眾的範圍之內，而是大量朝向世界進行擴張，在這當中，西方的現代戲劇，無論是劇本、 演出形式或者是戲劇美學概念，都借著「翻譯」行為對於世界進行文化的覆蓋。在這近代 的翻譯當中，「西方」代表著普遍性價值的源頭，而亞洲國家自身必須透過這個普遍性， 在與西方的差異當中，以特殊性來進行自我認知。本論將站在全球/在地、普遍性/特殊 性的視點，將小山內薰的戲劇論述視為文化言說進行分析，探討小山內薰經過長時間的演 出嘗試在日本所成立的「翻譯劇」是何種戲劇樣態，以及在這近代的翻譯過程當中，小山 內薰如何在與西洋的鏡像作用當中構築日本自我認同的「國劇」，在這當中，原本被視為 「舊劇」的歌舞伎如何在特殊性的論述當中，再度進入小山內薰的舞台構思當中，以此來 思考全球在地化的問題

From premodern, modern to postmodern, this historical sequence seems to unfold on the hinge of time, and yet, as Sakai Naoki points out, inseparable from the geopolitical configuration of the world. On the scale of the world, the movement of modern drama is also that of drama’s globalization. The modern drama no longer confines itself within the ambits of culture and audience of certain regions, but massively expands towards the world. In the expansion, the western modern drama, with its plays, performing styles or ideas of dramatic aesthetics, launches a cultural coverage upon the world by the act of“translation”. In the translations of modern times, the West represents the origin of universal values, and Asian countries must recognize themselves through their particularities as a result of measuring their differences from this universality of the West. Based upon the twofold perspective of globalization vs localization and universality vs. particularity, this paper will regard Osanai Kaoru’ s remarks on drama as a cultural discourses and thus analyze them, exploring the dramaturgical outlooks of Osanai Kaoru’ s Hon Yaku Geki (Translation Play) established after his long-term attempts in performance in Japan, and how he forms the‘national drama’of Japanese self-identity by mirroring the West in the modern translating process, in which how kabuki, the so-called‘old drama’, reenters into Osanai Kaoru’ s conception of stage by reference to discourses on particularity, and thus brings the localization of the global in question.