The present research examines the relationship between theatre translation and identity construction in Hong Kong. In the first section, the sociocultural background which has led to the popularity of translated theatre in Hong Kong is described. The nature of theatre translation is examined in order to illustrate how the process of identity construction has been reflected in the staging of Western drama in the territory. In the second section a statistical analysis of the development of translated theatre is presented, establishing a correlation between the popularity of translated theatre and major socio-political trends. The aim is not to identify any direct causal relationship, but rather to discuss whether identity is a passive constant or whether it is in a state of constant development; only if the latter is the case can we begin to talk of a true sense of identity. The third section contains a series of analyses of foreign plays and their stage renditions in Hong Kong through exploring the translation strategies of various theatre practitioners. We are interested not only in the textual and discursive transfers but also in the different ways in which Hong Kong people perceive and conceive their identity in the performances. To the Hong Kong people, Hong Kong is home, but when the idea of home, often assumed to be the basis for identity, becomes blurred for historical, political and sociocultural reasons, people may come to feel “homeless” and compelled to look for alternative means to develop the Self. As the main arguments presented in this thesis demonstrate, in theatre translation, Hongkongers have found a source of inspiration to nurture their identity and expand their “home” territory.