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。
但直至今天，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合適的劇本與表演。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。
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明的部分，反而是希望在一個學期的學習之後，我們的學生可以擁有答覆這個問題的能力。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。
而古典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。When you first hear the lyrics of "The Song", the pictures and sounds that appear in the brain of ordinary people are probably accompanied by big flower faces with rich makeup and noisy Chinese music. However, if you think the song is an ancient and difficult question that does not conform to the trend of the times, this is actually just a small part. First of all, the history of classical dramas is quite long-lasting, and is an art "from ancient times", ranking among the ancient Greek tragedy and Indian Buddhist dramas and one of the oldest drama forms in the world.
But to this day, the drama is still being performed frequently in various dramas in the Chinese world. We can not only see drama performances that maintain the classical spirit, but also see contemporary creators constantly pushing out new works in their expression forms and drama themes, creating suitable scripts and performances for the audience of this era. Therefore, in a certain sense, we are also continuing to write songs from this era. "Bookwriting" is here as a broadly defined verb, which not only refers to the creation of the script, but also includes performances, even all related drama activities, viewing behaviors, and even criticisms and discussions.
What is the characteristics and charm of the song? What role does it play in the entire Chinese literature history? This will not be the part that teachers should try to explain in class, but instead hope that after a period of learning, our students will have the ability to answer this question. To 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 script text, and fully "enjoy" reading and viewing this art irreplaceable A pleasant process.
As a comprehensive performance art that crosses the domain, classical dramas are worth both on the table text and performance scenes, and have both lyrical and incident literary functions; this is drama and other literary forms such as poems, lyrics, prose, One of the biggest differences such as novels is that this course is different from other Chinese courses. Therefore, the "text" of the key and discussion we are involved in will include both "splots" and "scene performances". Furthermore, the opera has a high degree of entertainment and popular nature. Therefore, when we read or watch the opera, we can better reflect the real and rich emotional thoughts and aesthetic standards of the groups of different eras and across levels.
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 and Liu Jiejun's "History of the Development of China's Curtain", Taiyuan: Shanxi Education, 2000.
Yu Qiuyu: "History of Chinese Dramas", Taipei: World Culture, 2007.
Guan Hanqing: "Save the Wind"
Junxiang: "The Lonely of the Zhao Family"
Wang Shufu: "The Records of the West"
Gao Yancheng: "Pipa Zou"
Tom Tak: "Peony Pavilion"
Hong Sheng: "The Palace of Changsheng"
Kong Shangren: "Peach Blossom Fan"
| 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） Regular results (including attendance rate) |
25 | |
| 期中考期中考 Midterm exam |
25 | |
| 學期報告學期報告 Study period report |
25 | |
| 期末考期末考 Final exam |
25 |
