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。At first glance, the word "opera", the pictures and sounds appearing in the minds of ordinary people are probably a big flower face with a thick makeup and a noisy Chinese music accompaniment. However, if you think that opera is an old, difficult knowledge that does not meet the trend of the times, this is actually a small part of it. First of all, the history of classical operas is indeed quite far away. It is a "coming from ancient times". It is one of the oldest forms of the world's oldest drama with ancient Greek tragedies and Indian Sanskrit.
But to this day, the opera has been frequently moved in various theaters of the Chinese world. We can not only see the opera performances that maintain the classical spirit, but also see that contemporary creators are constantly promoted in the form of expression and theme of theater, creating a suitable script and performance for the audience of this era. Therefore, in a sense, we are continuing to "write" the opera belonging to this era. "Writing" is a broad -defined verb here, which refers not only to the creation of the script, including the theater performance, and even all related drama activities, ornamental behaviors, and even criticism and discussion. In the course of last semester, we led our classmates to visit a history of ancient opera and several important classical dramas; in this semester, we will move the focus of attention to the contemporary theater. What kind of sparks will the classic opera meet the contemporary theater? On the one hand, the creation and performance of opera in this era must step on the classic foundation and grasp the unique performing aesthetics belonging to the opera, but at the same time, it also needs to be based on the changes in the environment of the times, theater characteristics and the aesthetic consciousness of the audience. Adjust. On the one hand, it is used to summon contemporary audiences into the theater. In the face of this traditional art, we are still moved by it. On the other hand, these creations and performances are also establishing the history of our own contemporary opera.
In the arrangement of the course, the opera performances in the Taiwan Contemporary Theater are used as the teaching content. From the connotation of the script, the form of expression, the theme emotions, and the contemporary theater aesthetics presented by the drama, analyze and discuss one by one. Many of them also involve the old forms and content of traditional drama, as well as western classic drama. How contemporary opera can make a dialogue that spans time and space through various adaptation methods through various adaptation methods, which will also be the connotation we want to share with our classmates. Through this course, I hope that students will have a preliminary understanding of the appearance of contemporary opera in Taiwan, and then cultivate the ability to appreciate and comment.
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 Opera" (Taipei: Sanmin, 2002)
Wang Anqi: "Two lonely lip beads sleeves -Peking Opera. Women's Book (Taipei: Print, 2008)
Shakespeare drama: "Mark Bai", "King Lear", "Venetian Merchant", "Measure for Measure"
Peng Jingxi and Chen Fang: "Constrained", "Quantitative • degree" (Taipei: Student Book Company, 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 Secondary entrance examination |
25 | |
| 期末考期末考 Final exam |
25 | |
| 期末報告期末報告 Final report |
25 | |
| 平時成績平時成績 Usual grade |
25 |
