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。Drama in ancient China is called opera; opera has a long history and is an art that "came from ancient times". It is one of the oldest forms of drama in the world, along with ancient Greek tragedy and Indian Sanskrit drama. However, to this day, operas are still frequently performed in various theaters in the Chinese world; not only can we see opera performances that maintain the oriental aesthetics and lyrical tradition, but we can also see contemporary creators' creative expressions and dramatic themes. Continuously innovate and create scripts and performances that can speak to the times for the audience 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.
The greatest feature of classical opera is the combination of poetry and dance, and its emphasis on lyricism. In addition to performing plots, it pays more attention to the expression of emotions and to arouse the resonance of the audience. In addition, opera's unique industry system (such as Shengdan Jingmo Chou), freehand expression techniques (such as one table and two chairs, the scene changes with people and the scene is spoken casually) and the combination of various performing arts (singing, juggling, The rich forms of science and literature, etc., are all its moving characteristics and connotations. Also because the creation of the script is based on the ultimate expectation of performance on the stage, when we read the opera script, we can try to imagine the way it will be presented on the theater, transforming the words into flowing pictures; this is not only the difference between opera and other One of the main characteristics of literary form will also be the most interesting part of reading a drama script.
As a cross-disciplinary comprehensive performing art, drama’s value is reflected in both desk texts and performance theaters, and it has both lyrical and narrative literary functions; this is the reason why drama is different from other literary forms that purely use text as a medium, such as poetry, The biggest difference is between words, essays, novels, etc. Therefore, the "opera text" we cover and discuss will include both "opera script" and "theatre performance". Furthermore, opera is highly entertaining and popular. Therefore, when we read or watch opera, we can better understand the real and rich emotions, thoughts and aesthetic standards of people from different eras and across classes, and even use it to trace back to that time. The theatre, performance form and performance connotation outline the ancient opera entertainment life.
What are the characteristics and charm of opera? What role does it play in the entire history of Chinese literature and social life? It is hoped that after one semester of study, every student taking the course will be able to extend their own understanding of this question through step-by-step guidance and various informal discussions in each unit. Furthermore, I hope that in addition to intellectual thinking, students can also enrich their own spiritual and emotional connotations through the diverse themes contained in opera texts, and fully "enjoy" the irreplaceable and pleasurable 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 Yanjun, "History of the Development of Chinese Opera", Taiyuan: Shanxi Education, 2000.
Yu Qiuyu: "History of Chinese Drama", Taipei: Tianxia Culture, 2007.
Liao Ben: "History of Ancient Chinese Theater"
Guan Hanqing: "Zhao Pan'er"
Ji Junxiang: "The Orphan of Zhao"
Guan Hanqing: "Moon Worship Pavilion"
Guan Hanqing: "Lu Zhailang"
Wang Shifu: "The Romance of the West Chamber"
Tang Xianzu: "The Peony Pavilion"
Hong Sheng: "The Palace of Eternal Life"
Kong Shangren: "Peach Blossom Fan"
Anonymous: "Thinking of 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 term report |
25 | |
| 期末考期末考 final exam |
25 |
