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。上學期的課程裡，我們帶領同學走訪了一段古代戲曲史以及幾齣重要的古典戲劇；在這個學期，我們將把關注的重心挪移到當代劇場。古典戲曲遇到當代劇場，究竟會擦撞出什麼樣的火花？這個時代的戲曲創作與演出，一方面必須踩著古典的基礎，把握住屬於戲曲的獨特表演美學，但同時也需要因應時代環境、劇場特色與觀眾審美意識的變化，在主題意識與藝術內涵上進行調整。一方面用以召喚當代觀眾進入劇場，在面對這項傳統藝術仍舊得以為其所感動，一方面這些創作與演出，也同時在建立積累著屬於我們自己的當代戲曲史。
在課程的安排上將以台灣當代劇場中的戲曲演出作為教學內容，從劇本內涵、表現形式、主題情感以及用以輔助戲劇呈現的當代劇場美學逐一進行分析與討論。其中多部作品亦同時牽涉傳統劇作的舊有形式及內容，以及西方經典劇作。當代戲曲如何透過各種改編手法，使得不同文本之間生一種跨越時空的對話，這亦將是我們希望與同學分享討論的內涵。藉由這門課程，希望令同學對於台灣當代戲曲形貌有著初步的認識，進而培養鑑賞與評論一齣戲劇的能力。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 thick 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. During the course of the last year, we took our classmates to visit an ancient drama history and several important classical dramas; during this period, we will shift the focus of our attention to contemporary dramas. What kind of sparks will a classical drama come from when it encounters a contemporary drama? The creation and performance of this era must, on the one hand, follow the classical foundation and grasp the unique performance aesthetics belonging to the drama, but at the same time, it also needs to adjust the theme consciousness and artistic connotation based on the changes in the contemporary environment, drama characteristics and audience aesthetic awareness. On the one hand, it is used to attract contemporary audiences to the theater, and when facing this traditional art, it is still touched by it. On the other hand, these creations and performances are also building our own contemporary drama history.
In the course arrangement, the performances from the contemporary Taiwanese drama are used as teaching content, and the connotation, expression form, theme and emotions are analyzed and discussed one by one from the content of the play, and the aesthetics of the contemporary drama that are used to assist the presentation of the drama. Many of these works also involve old forms and contents of traditional dramas, as well as Western classics. How contemporary dramas can create a dialogue that transcends time and space between different texts through various modification techniques will also be the connotation of the discussion we hope to share with our classmates. Through this course, we hope to give students a preliminary understanding of the contemporary drama morphology in Taiwan, and then cultivate the ability to comprehend and comment on dramas.
王安祈：《當代戲曲》（台北：三民，2002）
王安祈：《絳唇珠袖兩寂寞──京劇．女書》（台北：印刻，2008）
莎士比亞戲劇：《馬克白》、《李爾王》、《威尼斯商人》、《Measure for Measure》
彭鏡禧、陳芳：《約束》、《量•度》（台北：學生書局，2009/2012）
孔尚任：《桃花扇》
張愛玲：《金鎖記》
Wang Anqi: "Contemporary Song" (Taipei: Sanmin, 2002)
Wang Anqi: "Two loneliness in the lip and bead sleeves" - Beijing drama. Women's Book" (Taipei: Printing, 2008)
Shakespeare dramas: "Markbet", "King Lill", "The Merchant of Venice", "Measure for Measure"
Peng Yanxi and Chen Fang: "Binding" and "Quantity" (Taipei: Student Book Bureau, 2009/2012)
Kong Shangren: "Peach Blossom Fan"
Zhang Ailing: "Golden Lock"
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 期中考期中考 Midterm exam |
25 | |
| 期末考期末考 Final exam |
25 | |
| 期末報告期末報告 Final report |
25 |
