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course information of 106 - 1 | 0044 Introduction to Chinese Classical(古典戲曲概論)

0044 - 古典戲曲概論 Introduction to Chinese Classical


教育目標 Course Target

乍聽「戲曲」一詞,一般人腦海裡出現的畫面與聲音,大概就是畫著濃妝的大花臉與鏗鏘嘈雜的中國樂伴奏。然而如果你以為戲曲就是一門古老的、不符合時代潮流的艱難學問,這其實只說對了很小一部分。首先,古典戲曲的歷史的確相當悠遠,是「從古代走來」的一門藝術,與古希臘悲劇、印度梵劇並列世界最古老的戲劇形式之一。其次,直至今天,戲曲仍舊頻繁地在華人世界的各式劇場中持續搬演著。我們不但可以看到維持著古典精神的戲曲演出,也可以看到當代創作者在表現形式與戲劇主題上不斷地推陳出新,為這個時代的觀眾們創造可以對話時代的劇本與表演。因此某種意義上而言,我們也正持續「書寫」著屬於這個時代的戲曲時。「書寫」在這裡作為一個擁有寬泛定義的動詞,既指劇本創作,也包括劇場演出,甚至所有相關的戲劇活動、觀賞行為,甚至是批評與討論。 古典戲曲的最大特色在於詩歌舞結合,並以抒情為本位;敷演情節之外,更重視情感的抒發並藉以引起觀眾共鳴。此外,戲曲特有的行當制(如:生旦淨末丑)、寫意性的表現手法(如:一桌二椅)以及結合各類表演藝術(唱曲、雜耍、科諢等)的豐富型態,都是其動人的特色與內涵。也因為劇本的創作是以場上演出為最終期待,因此當我們閱讀戲曲劇本時, 可以試著想像它在劇場上呈現的方式,將文字轉化成流動的畫面;這不僅是戲曲有異於其他文學形式的主要特質之一,也將是閱讀戲劇劇本最饒富興味的一環。 戲劇作為一種跨領域的綜合性表演藝術,其價值同時體現在案頭文本以及表演劇場之上,並兼具抒情與敘事的文學功能;這是戲曲與其他文學形式如詩、詞、散文、小說等最大的差異之一,也會是這一門課與其他中文課程內容有所區別之處。因此我們所涉獵與討論的「文本」,將同時包括「戲曲劇本」與「劇場演出」。再則,戲曲擁有著高度的娛樂性與通俗性,因此當我們在閱讀或觀賞戲曲時,更能關照到不同時代、跨越階層的群眾們真實而豐富的情感思想與審美標準。 究竟戲曲的特色與魅力何在?它在整個中國文學歷史裡扮演著什麼樣的角色?這不會是課堂上教師要努力說服大家的部分,而是是希望在一個學期的學習之後,每一位修課同學學生可以透過每一個單元循序漸進的引導與各種不拘形式的討論分享,最終延伸出自己關於這個提問的答覆。更進一步的,希望同學們除了知性的理解與思考之外,也能因為蘊含於戲曲文本中的多樣主題豐富自身的精神與情感內涵,並充分「享受」閱讀、觀賞這門藝術無可取代的愉悅過程。Listening to the word "drama", the pictures and sounds that appear in the minds of ordinary people are probably the singers of Chinese characters with heavy makeup and noisy Chinese music. However, if you think that drama is an old and difficult study that does not conform to the trend of the times, this is actually only a small part. First of all, the history of classical opera is indeed quite far away. It is an art of "walking from ancient times" and is one of the oldest forms of drama in the world along with the ancient Greek tragedy and the Indian Sanskrit. Secondly, until today, the opera is still frequently played in various theaters in the Chinese world. Not only can we see the performance of the drama that maintains the classical spirit, but we can also see that contemporary creators continue to innovate in the form of expression and the theme of the drama, creating scripts and performances for the audience of this era. So in a sense, we are continuing to "write" the dramas of this era. "Writing" is here a verb with a broad definition, which refers to both scriptwriting and theater performances, and even all related drama activities, viewing behaviors, and even criticism and discussion. The greatest feature of classical opera lies in the combination of poetry and dance, and it is based on lyricism; in addition to the plot, it pays more attention to the bursting of emotions and to resonate with the audience. In addition, the opera's unique behavior (such as: the birth of the end of the ugly), freehand expression techniques (such as: a table and two chairs) and a combination of various types of performing arts (song, juggling, science, etc.) rich type It is its moving characteristics and connotation. Also because the creation of the script is the final expectation of the performance on the field, so when we read the drama script, we can try to imagine the way it is presented in the theater, transforming the text into a flowing picture; this is not only different from other operas. One of the main qualities of the literary form will also be the most interesting part of reading the drama. As a cross-disciplinary comprehensive performance art, drama is embodied in both the desk text and the performance theater, and has both lyric and narrative literary functions; this is drama and other literary forms such as poetry, words, prose, novels, etc. One of the biggest differences will be the difference between this course and other Chinese courses. Therefore, the "text" we are involved in and discussing will include both "drama scripts" and "theatrical performances". Moreover, the opera has a high degree of entertainment and popularity. Therefore, when we read or watch the opera, we can better care for the real and rich emotional thoughts and aesthetic standards of the masses of different eras and strata. What are the characteristics and charm of the opera? What role does it play in the history of Chinese literature? This will not be the part of the classroom where teachers should try to convince everyone. It is hoped that after one semester of study, each classmate and student can share and discuss with various informal discussions through each unit. Leave your own reply to this question. Further, I hope that in addition to intellectual understanding and thinking, students can also enrich their spiritual and emotional connotations because of the various themes contained in the opera texts, and fully enjoy the reading and viewing the art irreplaceable. Pleasant process.


參考書目 Reference Books

廖奔、劉彥君《中國戲曲發展史》,太原:山西教育,2000。
余秋雨:《中國戲劇史》,台北:天下文化,2007。
關漢卿:《救風塵》
紀君祥:《趙氏孤兒》
王實甫:《西廂記》
高則誠:《琵琶記》
湯顯祖:《牡丹亭》
洪 昇:《長生殿》
孔尚任:《桃花扇》
Liao Ben, Liu Yanjun, "The History of Chinese Opera Development", Taiyuan: Shanxi Education, 2000.
Yu Qiuyu: History of Chinese Drama, Taipei: World Culture, 2007.
Guan Hanqing: "Save the Wind"
Ji Junxiang: "The Orphan of Zhao"
Wang Shizhen: "The West Chamber"
Gao Zecheng: "琵琶记"
Tang Xianzu: "Peony Pavilion"
Hong Sheng: The Palace of Changsheng
Kong Shangren: "Peach Blossom Fan"


評分方式 Grading

評分項目 Grading Method 配分比例 Grading percentage 說明 Description
平時成績(含出席率)平時成績(含出席率)
Ordinary grades (including attendance rate)
20
期中考期中考
Midterm exam
20
學期報告學期報告
Term report
20
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相似課程 Related Course

必修-3257 Introduction to Classical Drama / 人文:古典戲曲概論 (共必修2-4,授課教師:高禎臨,二/5,6,7[H305])

Course Information

Description

學分 Credit:3-0
上課時間 Course Time:Tuesday/5,6,7[H305]
授課教師 Teacher:高禎臨
修課班級 Class:中文系2
選課備註 Memo:中文二優先;通識中心3257雙掛課程

選課狀態 Attendance

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