| Summary: | 非常林奕华剧团于2008年至2011年先后在海内外各大城市进行了《华丽上班族之生活与生存》、《男人与女人之战争与和平》及《命运建筑师之远大前程》的巡回演出，这三部以都市为主题的舞台剧合称为《城市三部曲》。本文将结合该剧导演及剧团的阅历、演职人员组成、文化生产策略、戏剧内容等，从文化研究的角度入手，以班纳迪克·安德森“想象的共同体”理论为主，衍生出“城市共同体”及“华人共同体”，结合剧里剧外所呈现的对于城市中权利与欲望、性别与文化及城市与家国的想象进行阐述。旨在探讨林奕华的《城市三部曲》如何建构城市/华人这一共同体的精神生活及意识形态，使观众在参与戏剧活动中意识彼此属于一个群体，获得对一种价值观和身份的认同感，使该剧得以成功打入两岸三地及海外华人市场，也体现了非常林奕华剧团“把城市作为背景，以城市人作为题材和演出对象”及“跟城市对话，与欲望游戏”的宗旨。Urban Trilogy was presented by Edward Lam Dance Theatre during year 2008 to 2011. It included three living theatre known as Design for Living, Man and Woman War and Peace and Grand Expectations. The following thesis introduces the analysis of the strategy of cultural production, content and context of the performance and focus on the theory of Urban Community and Chinese Community, which derive from Imagined Community by Benedict Anderson, to narrate the concepts of imaginations of desire, gender, cultural, nation and homeland in urban.The concept of urban and Chinese community will let the audiences find their identities and values through the performance and let the shows successfully penetrate to Mainland China, Taiwan, Hong Kong and overseas Chinese community. Urban Trilogy is conformity with the objectives of Edward Lam Dance Theatre, which are 'using the living experience of city people as background and performing the show to them' and 'discussing various desire in performance to having discussion with urban'.
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