《李爾在此》

一聲鑼、一個亮相、一記鼓、一個身段，吳興國擷取京劇大師麒麟童開創的獨特風格，融合舞蹈與現代劇場的節奏，表現老生的悲愴與蒼勁。

被不肖女兒逐出國門的李爾王，憤怒發狂奔走於暴風雨的荒野之中，內心悔恨交加。吳興國以瞬間角色變換的技巧，穿梭往返於「李爾王」、「演員」、「吳興國自我」三個角色之間，連結呼應彼此的內心世界。

從「李爾王」瞬間化身為「弄人」，第一段如果是悲，第二段便是喜。第一段展現戲曲表演中「老生的悲愴」，第二段則是「小花臉的戲謔」。

相較前段充滿激情的高腔作表，彷若連珠砲一般的唸白功夫和瞬間角色變換，是全劇難度最高的一幕。吳興國一人飾演十個角色，試圖提煉莎士比亞劇作中最具戲劇性及強烈生命力的角色扮演。

生命回到原點，戲，不過是為了尋找人的本質。

With a crash of the gong, a strike of the pose, a beat of the drum, and a fluid movement, Wu Hsing-kuo captures the unique style pioneered by Peking Opera master Qi Lintong. Merging dance with the rhythm of modern theatre, he portrays the sorrow and vigor of the laosheng (old male role).

Cast out by his ungrateful daughters, King Lear wanders the stormy wilderness in a fit of mad rage, his heart consumed by regret. Using rapid character-switching techniques, Wu Hsing-kuo moves seamlessly between "King Lear," the "Actor," and "Wu Hsing-kuo himself," connecting and echoing their inner worlds.

Transforming instantly from King Lear into the Fool, if the first act was tragedy, the second is comedy. While the first act showcases the "pathos of the laosheng," the second highlights the "banter of the xiaohualian" (clown role).

Compared to the passionate high-pitched operatic performance of the previous act, the rapid-fire dialogue and lightning-fast role changes make this the most difficult scene in the play. Wu Hsing-kuo performs ten roles alone, attempting to distill the most dramatic and vibrant essence of Shakespeare’s characters.

Life returns to its origin; the play is but a quest to find the essence of a human being.