導引學生探討莎士比亞戲劇之基礎美學，並透過亞洲劇場工作者各自於臺灣、日本、印度、中國等地所創作的莎劇，探討東方戲劇傳統與西方戲劇經典結合之藝術性和局限性，同時深入檢視跨文化創作所衍生出來的相關議題，如後殖民主義與文化再製、文化瓢竊等概念。

Over the last few decades, more and more theatre practitioners in Asian countries, including Japan, China, India, Korea, and Taiwan, have come to recognize the dramatic power of Shakespeare’s plays, and use the theatrical skills they are trained with to penetrate and interpret what they regard as the core of the Bard’s dramaturgy; among them are Wu Xing-guo in Taiwan with Beijing Opera traditions, Ninagawa in Japan with features of the Kabuki, and Indian groups with performance styles of Khata Khali. Drama researchers such as John Russell Brown and Richard Schechner have observed this uprising trend and tried to explore the phenomenon in their books with trans-political and cross-cultural perspectives. Very often productions presented by these enthusiastic Asian theatre practitioners can be seen not only as an index to reveal the intrinsic universality of Shakespeare’s dramatic creation, but also as a signal to indicate Asia’s ambition of getting located or re-located near the center of the world map. This course aims to investigate into the cross-cultural combination of William Shakespeare’s dramatic texts and the theatrical conventions of certain Asian countries. With the help of the dramatic and cultural theories developed by renowned scholars such as Brown, Schechner, Bharucha, and Fischer-Lichte, students of this course will be guided to examine the relationships between cultural presentations and representations, and hence cultivate a better understanding of the new possibilities of presenting Shakespeare’s plays with Asian approaches.

The students are guided to explore the basic aesthetics of Shakespeare dramas, and through the Shakespeare created by Asian drama workers in Taiwan, Japan, India, China and other places, they explore the artistic and limitations of the combination of Eastern drama tradition and Western drama classics, and at the same time, they deeply examine the relevant issues derived from cross-cultural creation, such as postcolonial democracy and cultural reproduction, cultural sacrificial concepts.

Over the last few decades, more and more theatre practitioners in Asian countries, including Japan, China, India, Korea, and Taiwan, have come to recognize the dramatic power of Shakespeare’s plays, and use the theatrical skills they are trained with to penetrate and interpret what they regard as the core of the Bard’s dramaturgy; among them are Wu Xing-guo in Taiwan with Beijing Opera traditions, Ninagawa in Japan with Features of the Kabuki, and Indian groups with performance styles of Khata Khali. Drama researchers such as John Russell Brown and Richard Schechner have observed this uprising trend and tried to explore the phenomenon in their books with trans-political and cross-cultural perspectives. Very often productions presented by these enthusiastic Asian theatre practicers can be seen not only as an index to reveal the intrinsic Universality of Shakespeare’s dramatic creation, but also as a signal to indicate Asia’s ambition of getting located or re-located near the center of the world map. This course aims to investigate into the cross-cultural combination of William Shakespeare’s dramatic texts and the theatrical traditions of certain Asian countries. With the help of the dramatic and cultural theories developed by renowled schools such as Brown, Schechner, Bharucha, and Fischer-Lichte, students of this course will be guided to examine the relationships between cultural presentations and representations, and hence cultivate a better understanding of the new possibilities of presenting Shakespeare’s plays with Asian approaches.

Over the last few decades, more and more theatre practitioners in Asian countries, including Japan, China, India, Korea, and Taiwan, have come to recognize the dramatic power of Shakespeare’s plays, and use the theatrical skills they are trained with to penetrate and interpret what they regard as the core of the Bard’s dramaturgy; among them are Wu Xing-guo in Taiwan with Beijing Opera traditions, Ninagawa in Japan with features of the Kabuki, and Indian groups with performance styles of Khata Khali. Drama researchers such as John Russell Brown and Richard Schechner have observed this uprising trend and tried to explore the phenomenon in their books with trans-political and cross-cultural perspectives. Very often productions presented by these enthusiastic Asian theatre practitioners can be seen not only as an index to reveal the intrinsic universality of Shakespeare’s dramatic creation, but also as a signal to indicate Asia’s ambition of getting located or re-located near the center of the world map. This course aims to investigate into the cross-cultural combination of William Shakespeare’s dramatic texts and the theatrical conventions of certain Asian countries. With the help of the dramatic and cultural theories developed by renowned scholars such as Brown, Schechner, Bharucha, and Fischer-Lichte, students of this course will be guided to examine the relationships between cultural presentations and representations, and hence cultivate a better understanding of the new possibilities of presenting Shakespeare’s plays with Asian approaches.

Over the last few decades, more and more theatre practitioners in Asian countries, including Japan, China, India, Korea, and Taiwan, have come to recognize the dramatic power of Shakespeare’s plays, and use the theatrical skills they are trained with to penetrate and interpret what they regard as the core of the Bard’s dramaturgy; among them are Wu Xing-guo in Taiwan with Beijing Opera traditions, Ninagawa in Japan with Features of the Kabuki, and Indian groups with performance styles of Khata Khali. Drama researchers such as John Russell Brown and Richard Schechner have observed this uprising trend and tried to explore the phenomenon in their books with trans-political and cross-cultural perspectives. Very often productions presented by these enthusiastic Asian theatre practicers can be seen not only as an index to reveal the intrinsic Universality of Shakespeare’s dramatic creation, but also as a signal to indicate Asia’s ambition of getting located or re-located near the center of the world map. This course aims to investigate into the cross-cultural combination of William Shakespeare’s dramatic texts and the theatrical traditions of certain Asian countries. With the help of the dramatic and cultural theories developed by renowled schools such as Brown, Schechner, Bharucha, and Fischer-Lichte, students of this course will be guided to examine the relationships between cultural presentations and representations, and hence cultivate a better understanding of the new possibilities of presenting Shakespeare’s plays with Asian approaches.

《後殖民主義與文化認同》，張京媛編，麥田出版有限公司，1995年

Theatre and the World, by Rustom Bharucha, London: Routledge, 1993
Shakespeare Our Contemporary, by Jan Kott, London: Norton, 1974
Shakespeare: The Basics, by Sean McEvoy, London: Routledge, 2013

莎士比亞之悲劇與喜劇作品：《馬克白》、《哈姆雷特》、《李爾王》；《仲夏夜之夢》、《皆大歡喜(As You Like It)》，《第十二夜》

"Post-colonial Democratic Ideology and Culture", edited by Zhang Jingyuan, Maitian Publishing Co., Ltd., 1995

Theatre and the World, by Rustom Bharucha, London: Routledge, 1993
Shakespeare Our Contemporary, by Jan Kott, London: Norton, 1974
Shakespeare: The Basics, by Sean McEvoy, London: Routledge, 2013

Shakespeare's tragedy and comedy works: "Markbet", "Hamlet", "King Lee"; "Midsummer Night's Dream", "As You Like It", "The Twelfth Night"