中國戲曲的歷史悠遠，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。因此戲曲絕非「過去式」而是「進行式」，甚至是一種具有對話當下與思考來日意義的「未來式」。
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）、表演的程式化（手眼身步法）、寫意美學（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。劇本的創作是以場上演出為期待，其最終如何在劇場實現，以及演出條件如何影響著劇本的創作，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。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，戲曲是貼近群眾生活的一種娛樂與藝術，因此當我們在閱讀或觀賞戲曲時，同時也能關照到不同時代、跨越階層的人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，並勾勒出不同時期的社會文化與娛樂生活。而身處當代的我們，同樣也可以從中汲取觸動自己的部分；包括人生裡各式不同的生命課題，也包括我們所存在的時代各種社會面向與相關議題。戲劇從來不單單只是一種審美娛樂而已，它也是關照現實生活與改變社會的起點。
本課程將帶領大家進入到戲曲的迷人世界。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了自身的精神與情感內涵，並充分享受在閱讀或觀賞這門藝術無可取代的美感經驗。Chinese opera has a long history. It is an art that has "come from ancient times" and is one of the oldest drama forms 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 era for the audience of this era. Therefore, opera is by no means a "past tense" but a "progressive tense". It is even a "future tense" that has the meaning of talking about the present and thinking about the future.
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), stylized performance (hands, eyes, body and footwork), freehand aesthetics (such as one table and two chairs, the scene changes with people and the scenes are spoken casually), as well as the combination of various The rich types of performing arts (singing, juggling, comedy, etc.) are all its moving features and connotations. The creation of the script is based on the expectation of performance on the stage, how it is finally realized in the theater, and how the performance conditions affect the creation of the script. This is not only one of the main characteristics that distinguishes opera from other literary forms, it will also be one of the most important aspects of reading drama scripts. The most interesting part. Therefore, the "opera text" we cover and discuss will include both "opera script" and "theatre performance".
Furthermore, opera is a kind of entertainment and art that is close to the lives of the masses. Therefore, when we read or watch opera, we can also take into account the real and rich emotions, thoughts and aesthetic standards of people from different eras and across strata, and even use it to trace back to that time. The theater, performance form, performance connotation, and outline the social culture and entertainment life in different periods. We in the contemporary world can also draw from it the parts that touch us; including various life issues in life, as well as various social aspects and related issues of the era in which we live. Drama has never just been an aesthetic entertainment. It is also the starting point for caring about real life and changing society.
This course will lead everyone into the fascinating world of opera. 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 and sharing 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 aesthetic experience of reading or watching 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。
京 劇：《霸王別姬》
崑 劇：《夜 奔》
關漢卿：《趙盼兒風月救風塵》
紀君祥：《趙氏孤兒》
王實甫：《西廂記》
湯顯祖：《牡丹亭》
洪 昇：《長生殿》
孔尚任：《桃花扇》
吳 藻：《喬 影》
崑 劇：《蝴蝶夢》
京 劇：《活捉張三郎》
《白蛇傳・遊湖借傘》
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.
Peking Opera: "Farewell My Concubine"
Kun Opera: "Running at Night"
Guan Hanqing: "Zhao Pan'er Fengyue Saves Feng Chen"
Ji Junxiang: "The Orphan of Zhao"
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"
Wu Zao: "Qiao Shadow"
Kun Opera: "Butterfly Dream"
Peking Opera: "Capturing Zhang Sanlang Alive"
"The Legend of White Snake: Borrowing an Umbrella on a Lake Tour"
| 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) |
20 | |
| 學期報告學期報告 term report |
30 | |
| 期末考期末考 final exam |
50 |
