描述：ise creates a profound sense of uncertainty that intensifies the complexity of Hamlet’s dilemma. A number of Shakespeareans scholars have argued that the significance of the Hamlet ghost is lost to the contemporary audience due to the disbelief of ghost in the modern world. Such loss can be recompensed when Shakespeare is transplanted to traditional Chinese theatre. This thesis consider the two Chinese opera adaptations of Hamlet, respectively by Taipei’s Contemporary Legend Theatre in 1989 and the Shanghai Yue Opera Company in 1994. The two adaptations presented the ghosts conventionally as the spirits of honourable ancestors, recovering the ghost’s significance. This shows the potential of intercultural theatre: loss or ignored elements of the source theatre could be revisited and revitalized through the cultural lenses of the target theatre. However, these renditions failed to address the ghost’s uncertain nature, and hence diminished the complexity of the prince’s struggle. The two adaptations point to a problem in intercultural theatre: theorists and practitioners tend to avoid interchange of cultural perspectives. For many theorists, the focus is the actor’s body. Studying of the two Chinese renditions of Hamlet provides an alternative point of departure towards the theory of intercultural exchange in theatre.