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。The Chinese drama has a long history and is an art that "comes from ancient times". It is one of the oldest drama forms in the world, along with ancient Greek tragedy and Indian Buddhist drama. However, to this day, the plays 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 constantly push new things in their expression forms and drama themes, creating dramas and performances that can talk to the times for the audience of this era. Therefore, the plot is not a "past style" but a "progressive style", or even a "future style" with the meaning of dialogue and thinking.
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, Chou), the stylized performance (hand, eye, body, footwork), writing aesthetics (such as: one table and two chairs, and the scene is moved from the mouth to the mouth), and the rich style of combining various performance art (singing, playing, science, etc.) are all its moving characteristics and connotations. The creation of the play is expected to be performed on the stage. How it finally takes effect on the play and how the performance conditions affect the creation of the play is not only one of the main characteristics of the play that is different from other literary forms, but will also be the most exciting part of reading the play. Therefore, the "split text" we are involved in and discuss will include "split script" and "split performances".
Furthermore, drama is an entertainment and art that is close to the lives of the crowd. Therefore, when we read or view the song, we can also reflect the real and rich emotional thoughts and aesthetic standards of people from different eras and across levels, and even use it to retroactively trace the drama, performance form, and performance connotation of that time, and outline the social culture and entertainment life of different periods. In our contemporary world, we can also draw parts of ourselves from it; including various life topics in life, as well as various social and related issues in the era in which we exist. Dramas are never a single one just a kind of aesthetic entertainment, it is also the starting point for taking into account real life and changing society.
This course will lead you into the charming world of drama. 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. To 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 song text, and fully enjoy the irreplaceable aesthetic experience of reading or 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。
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 Jiejun's "History of the Development of China's Curtain", Taiyuan: Shanxi Education, 2000.
Yu Qiuyu: "History of Chinese Dramas", Taipei: World Culture, 2007.
Beijing drama: "The Overlord's Father"
Kun drama: "Night Running"
Guan Hanqing: "Zhaoying the wind and moon to save the wind"
Junxiang: "The Lonely of the Zhao Family"
Wang Shufu: "The Records of the West"
Tom Tak: "Peony Pavilion"
Hong Sheng: "The Palace of Changsheng"
Kong Shangren: "Peach Blossom Fan"
Wu Zao: "Joying"
Kun drama: "Butterfly Dream"
Beijing drama: "Catching Zhang Sanlang alive"
"White Snake Transfer・Borrowing Lake"
| 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 Study period report |
30 | |
| 期末考期末考 Final exam |
50 |
