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Holo Taiwanese Opera Troupe has produced a series of intercultural performances in Taiwanese Opera since the troupe adapted Nikolai Vasilievich Gogol’s (1809-1852) The Government Inspector in 1996. In fact, there is a huge controversy over these intercultural performances which fuse western drama with traditional Taiwanese performing art because such a kind of theatrical hybridity lacks the spirit of the original and damages the aesthetics of native performing art practice. In 2002, Holo adapted William Shakespeare’s Hamlet into a six-hour-long performance, Tai Tzu Fu Chou (The Prince’s Vengeful Plan), which the troupe tried to explore new source for traditional Taiwanese Opera and expected to bring something new to Taiwanese audience. However, The Prince’s Vengeful Plan is considered “cultural collage” as well as an unsuccessful intercultural performance. Besides, The Prince’s Vengeful Plan is accused to blaspheme Shakespeare because the performance merely maintains the frame of the original and distorts the spirit of the original. According to Rustom Bharucha, the most problematic aspect of intercultural performance is “de-historicizing tendency”, and such a condition explains why Holo’s The Prince’s Vengeful Plan cannot transcend the original. In order to detect the problems of intercultural adaptation in Holo’s The Prince Vengeful Plan, we cover the related issues in three aspects: (1) to discuss the development of Taiwanese Opera in Taiwan; (2) to explore the cultural conflicts when the text of the source culture is adapted into the performance of the target culture; and (3) to see how and why the spirit and aesthetics of Shakespeare’s verses in Hamlet are distorted in Holo’s theatrical adaptation. After that, we expect to conclude the impossibility of adapting Shakespeare’s play into traditional Taiwanese Opera in the case of Holo’s The Prince’s Vengeful Plan.

Theatrical Hybridity, Thy Name Is Conflict: A Case Study on Holo Taiwanese Opera Troupe’s Tai Tzu Fu Chou (The Prince’s Vengeful Plan)