中國古代的戲劇稱為戲曲;戲曲的歷史悠遠,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。然而直至今天,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東方美學與抒情傳統的戲曲演出,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,場隨人移景隨口出)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;這是戲曲與其他純粹以文字作為媒介的文學形式如詩、詞、散文、小說等最大的差異。因此我們所涉獵與討論的「戲曲文本」,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,甚至藉以回溯當時的劇場、演出形式、表演內涵勾勒出古代的戲曲娛樂生活。
究竟戲曲的特色與魅力何在?它在整個中國文學史以及社會生活史裡扮演著什麼樣的角色?希望在一個學期的學習之後,每一位修課同學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理解。更進一步的,希望同學們除了知性的思考之外,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。Ancient Chinese dramas are called dramas; the dramas are long-lasting and are an art that "comes from ancient times", and are one of the oldest drama forms in the world, along with ancient Greek tragedy and Indian Buddhist dramas. However, to this day, the songs are still constantly being performed in various dramas in the Chinese world; we can not only see drama performances that maintain oriental aesthetics and lyrical traditions, but also see contemporary creators in their expression form and drama themes Continuously launch new products to create dramas and performances that can talk to the times 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.
The biggest feature of classical dramas is the combination of poems, songs and dances, and lyricism is the basis; in addition to expressing emotions, it emphasizes the expression of emotions and thus arouses the audience to share the same way. In addition, the unique performance system of the play (such as: Shengdan, Qingmiao, Chou), the artistic expression techniques (such as: one table and two chairs, and the scene moves the scenery and is released from the mouth) and the combination of various performance art (singing songs, playing tricks, The rich personality of Keyue, etc.) is all its moving characteristics and connotations. Also because the creation of the script is the final expectation of performance on the scene, when we read the script, we can try to imagine how it appears on the scene, turning the text into a flowing picture; this is not only the drama is different from other One of the main characteristics of literary form will also be the most exciting ring for reading dramas.
As a comprehensive performance art across the domain, the drama is worthwhile and above the case text and performance scenes, and has both lyrical and incident literary functions; this is a drama and other pure literary forms that use words as media, such as poems, The biggest difference between lyrics, prose, novels, etc. Therefore, the "split text" we are involved in and discuss will include "split script" and "split performances". Furthermore, the opera has a high degree of entertainment and popular nature. Therefore, when we read or view the opera, we can better reflect the real and rich emotional thoughts and aesthetic standards of the groups of different eras and across levels, and even go back to the time. The drama, performance form, and performance connotation outline the ancient drama entertainment life.
What is the characteristics and charm of the song? What role does it play in the entire Chinese literary history and social life history? I hope that after a period of study, each student in the course can use each individual to step up the guidance and various forms of discussion and sharing, and finally extend his understanding of this question. Further, I hope that in addition to intellectual thinking, students can also enrich their spiritual and emotional connotations because of the various themes contained in the script text, and fully "enjoy" the irreplaceable pleasant process of reading and viewing this art. .
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。
廖奔:《中國古代劇場史》
關漢卿:《趙盼兒》
紀君祥:《趙氏孤兒》
關漢卿:《拜月亭》
關漢卿:《魯齋郎》
王實甫:《西廂記》
湯顯祖:《牡丹亭》
洪 昇:《長生殿》
孔尚任:《桃花扇》
無名氏:《思凡》
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.
Liao Ben: "History of Ancient Chinese Dramas"
Guan Hanqing: "Zhao Pan"
Junxiang: "The Lonely of the Zhao Family"
Guan Hanqing: "The Moon Worshiping Pavilion"
Guan Hanqing: "Rui Lang"
Wang Shufu: "The Records of the West"
Tom Tak: "Peony Pavilion"
Hong Sheng: "The Palace of Changsheng"
Kong Shangren: "Peach Blossom Fan"
Unknown: "Sifan"
評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
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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 |