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 first hearing the word "opera", the images and sounds that come to most people's minds are probably a painted face with heavy makeup and the accompaniment of sonorous and noisy Chinese music. However, if you think that opera is an ancient and difficult knowledge that does not conform to the trend of the times, this is actually only a small part of the truth. First of all, classical opera has a very long history. It is an art that "came from ancient times" and is one of the oldest forms of drama in the world, along with ancient Greek tragedy and Indian Sanskrit drama.
But to this day, opera is still frequently performed in various theaters in the Chinese world. Not only can we see opera performances that maintain the classical spirit, but we can also see contemporary creators constantly innovating in expression forms and drama themes to create suitable scripts and performances for the audiences of this era. Therefore, in a sense, we are continuing to "write" the drama that belongs to this era. "Writing" is here used as a verb with a broad definition, which refers to not only script creation, but also theater performances, and even all related theatrical activities, viewing behaviors, and even criticism and discussion. In the course last semester, we led the students to visit a period of ancient opera history and several important classical dramas; this semester, we will shift our focus to contemporary theater. When classical opera meets contemporary theater, what kind of sparks will there be? The creation and performance of opera in this era must, on the one hand, adhere to the classical foundation and grasp the unique performance aesthetics of opera, but at the same time, it also needs to respond to changes in the environment of the times, theater characteristics and the audience's aesthetic consciousness, in terms of theme awareness and artistic connotation. Make adjustments. On the one hand, it is used to call contemporary audiences into the theater, and they can still be moved by this traditional art. On the other hand, these creations and performances are also building and accumulating our own history of contemporary opera.
In the arrangement of the course, opera performances in Taiwan's contemporary theater will be used as the teaching content, and the script connotation, expression form, theme emotions, and contemporary theater aesthetics used to assist the presentation of drama will be analyzed and discussed one by one. Many of the works also involve old forms and contents of traditional plays, as well as classic Western plays. How contemporary opera can create a dialogue across time and space between different texts through various adaptation techniques is what we hope to share with our classmates. Through this course, we hope that students will have a preliminary understanding of the form of contemporary Taiwanese opera, and then develop the ability to appreciate and comment on a drama.
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: "Red Lips and Beady Sleeves Are Lonely──Peking Opera." "Nüshu" (Taipei: Yin Ke, 2008)
Shakespeare's plays: "Macbeth", "King Lear", "The Merchant of Venice", "Measure for Measure"
Peng Jingxi, Chen Fang: "Restraint", "Measurement" (Taipei: Student Bookstore, 2009/2012)
Kong Shangren: "Peach Blossom Fan"
Zhang Ailing: "The Story of the 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 |
