當代劇本形式新穎或前衛，打破現代劇場劇本寫作的慣例，亦直面各種當代尖銳的社會議題，舉凡難民移民、勞工處境、科技倫理、戰爭反省、多元性別、土地正義、資本主義等諸多面向，都其關懷之列，同時，劇場此一藝術媒介，開展出與新聞傳媒、理論論述等傳播領域不同的關懷面向，在個人生命與時代發展間的相互關係有更深刻且細膩的挖掘。台灣的劇本寫作在劇場發展的脈絡下，也開始有了新的變貌，劇本與劇場、劇場與社會之間的關係皆因此進入一種新型態的互動模式，開始有了被重新界定與思考的可能。本課程將帶領學生探討這些多元新穎的創意編寫方法，及其如何與我們的當代社會互動，從中開啟反思當代議題的各類面向，帶動對劇場表現和現代社會的討論。同時，本課程也鼓勵引導同學發展新型態的創作與呈現。The contemporary drama form is new or forefront, breaking the customs of modern drama script writing, and also facing various contemporary social issues, including difficult immigration, labor situation, scientific and technological ethics, war reflection, diversity, land justice, capitalism There are many aspects, all of which are relevant. At the same time, the theater, this artistic medium exhibits different aspects of communication fields such as news media and theoretical discussions, and has a deeper and more detailed relationship between personal life and the development of the times. Dig. With the development of the drama, Taiwan's scripts began to have a new look. The relationship between the drama and the drama, the drama and society have entered a new interactive mode, and have begun to be redefined and thought. Possibility. This course will lead students to explore these diverse and new creative writing methods and how they interact with our contemporary society, and start reflecting on the various aspects of contemporary topics, and shaping discussions on drama performance and modern society. At the same time, this course also encourages and guides students to develop new forms of creation and presentation.
（一）指定閱讀：
(1)紀蔚然著。《現代戲劇敘事觀：建構與解構》。台北：遠流，2014。
(2)坂元裕二著，陳系美譯。《怎麼又回到這裡》。台北：
光生出版，2021。
(3)亞瑟．米勒著，英若誠譯。《推銷員之死》。台北：
書林，2006。
(4)喬埃．波默拉著，王世偉、賈翊君譯。《喬埃．波默
拉的童話三部曲》。台北：遠流，2017。
(5) 紀蔚然著。《夜夜夜麻》。台北：印刻，2012。
（二）參考書目：
(1)瑪莉詠．布迪耶著，王世偉譯。《舞台書寫：解讀橋
埃．波默拉》。台北：書林，2017。
(2)羅伯特．麥基著，黃政淵等譯。《故事的解剖》。台北：
漫遊者，2014。
(3)羅伯特．麥基著，周蔚譯。《對白的解剖》。台北：漫遊者，2017。
(4)紀蔚然。《我們的語言》。台北：印刻，2022。
(5)彼得．布魯克著，陳敬旻譯。《開放的門：對於表演
與劇場的思考》。台北：書林，2009。
(6)漢斯-蒂斯．雷曼著，李亦男譯。《後戲劇劇場》。台北：
黑眼睛文化，2021。
(I) Designated reading:
(1) It is very vivid. "Modern Drama Concept: Construction and Solution". Taipei: Far, 2014.
(2) Written by Yuji Sakamoto, Chen style translation. "Why Back Here Again". Taipei:
Guangsheng Publishing, 2021.
(3) Ather. Written by Miller, English translation. "The Death of the Promoter". Taipei:
Shu Lin, 2006.
(4) Joe. Pomer pulled him, and Wang Shiwei and Ja Yijun translated him. "Joeh. Pomer
"The Trilogy of Fairy Tales" Taipei: Far, 2017.
(5) It is very vivid. "Every Night Macao". Taipei: Printing, 2012.
(II) Reference books:
(1) Mali. Written by Budie, translated by Wang Shiwei. "Stage Book Writing: Interpretation Bridge
Ah. Pomera. Taipei: Shulin, 2017.
(2) Robert. Author: Mac, Huang Zhengjing and other translations. "Anatomy of the Story". Taipei:
Traveler, 2014.
(3) Robert. By Mai Ji, Zhou Wei-san. "Anatomy of Conversation". Taipei: Traveler, 2017.
(4) It is very exciting. "Our Language". Taipei: Printing, 2022.
(5) Peter. Bruk, Chen Jingmin passed. "Opening door: For performance
Thoughts on the drama. Taipei: Shulin, 2009.
(6) Hans-Tiss. Written by Lehman, translated by Li Yinan. "Post-Stories". Taipei:
Black Eye Culture, 2021.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 課堂出席與參與討論課堂出席與參與討論 Class attendance and participation discussion |
25 | |
| 分組報告分組報告 Sub-group report |
25 | |
| 期末劇本與各項作業繳交期末劇本與各項作業繳交 Final scripts and various operations |
50 |
