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。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。

在這門課裡，我們將帶領大家一起走入當代戲曲與劇場的班爛舞台。你將會發現一個全然殊異於傳統的戲劇世界，古典劇本在當代劇場裡以諧擬、後設、重探、嘲弄獲得重新的詮釋，跨劇種、跨藝術、跨文化成為當代戲曲常見的表現方式，現代小說、漫畫也可能成為的創作靈感，而傳統戲劇的一桌二椅與寫意舞台，來到當代也改以更豐富的視覺語彙作為另一種表述的語言。然而依舊不變的是，它仍透過最為細緻的方式勾勒人們內在最深刻而細緻的感受，讓當代人的價值與情感重現劇場，在短暫的劇院時光裡，我們藉以重新思考自身生命存在的方式。

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。

歡迎大家一起走入當代劇場的世界！

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. 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 adapt to changes in the environment of the times, theater characteristics, and the audience's aesthetic awareness, and make adjustments in theme consciousness and artistic connotation. On the one hand, it is used to summon contemporary audiences to enter the theater and still be moved by this traditional art. On the other hand, these creations and performances are also establishing and accumulating our own history of contemporary opera.

In this course, we will lead everyone into the class stage of contemporary opera and theater. You will discover a drama world that is completely different from the traditional one. Classical scripts are reinterpreted in contemporary theater through parody, meta-scenario, re-exploration, and ridicule. Cross-drama, cross-art, and cross-culture have become common expression methods of contemporary opera. Modern novels and comics may also become creative inspirations. The one table, two chairs, and freehand stage of traditional drama have also been replaced by a richer visual vocabulary as another language of expression in the contemporary era. However, what remains unchanged is that it still outlines people's most profound and detailed inner feelings in the most meticulous way, allowing contemporary people's values ​​and emotions to reappear in the theater. In the short theater time, we can use it to rethink the way our own lives exist.

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.

Welcome everyone to enter the world of contemporary theater!

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）
王安祈、劉建華：《十八羅漢圖》
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》
趙雪君：《狐仙故事》

Wang Anqi: "Contemporary Opera" (Taipei: Sanmin, 2002)
Wang Anqi: "Red Lips and Beady Sleeves Are Lonely──Peking Opera." "Nüshu" (Taipei: Yin Ke, 2008)
Wang Anqi and Liu Jianhua: "Eighteen Arhats"
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"
Zhao Xuejun: "Fox Fairy Story"