本課程為培養劇本編寫能力的實作課程，將介紹劇本寫作的基本技巧、規則與方法，同時閱讀討論近當代各國的劇本創作，以了解劇本創作的潮流發展與風格特色，同時以於學期中完成一部劇本為目標，藉由創作實踐培養劇本寫作必須的觀察、想像與組織能力。
同時，注重寫作習慣的養成。如何將寫作的熱情和概念想法，轉化成具體的實踐方法，因台灣向來的教育使然，容易把創作視為靈感所至偶一為之的興趣，難以形成專業，這對創作發展極為不利。在學習歷程中，企圖透過循序漸進的課程安排，體會創作即生活、作品即態度，能主動且有系統地觀察、蒐集、累積寫作材料，並從而擬定、形成個人的寫作計畫，發展能夠持之以恆的寫作方式。
最後，以讀劇演出的方式，對本學期中所完成的劇作進行初步的演出執行，讓創作者了解自己的劇本被搬演的可能性，觀察作品的語言文字在劇場空間的視聽效果，並促進同世代間的寫作交流。
This course is a practical course to cultivate the writing skills of the script. It will introduce the basic skills, rules and methods of the script, and at the same time read and discuss the creations of the script from modern countries to understand the trend and style of the script. At the same time, it aims to complete a script in the middle of the study period, and cultivate the observation, imagination and organizational abilities that are necessary for writing in the script through creation.
At the same time, we pay attention to the cultivation of writing habits. How to transform the passion and conceptual ideas of writing into specific practical methods is because of the education in Taiwan. It is easy to regard creation as a spirit-conscious interest, which is difficult to form a professional, which is extremely unfavorable for the development of creation. During the learning process, through progressive course arrangements, the creation is life and the work is real, and the writing materials can be actively and systematically observed, collected, and accumulated, and thus determined and formed personal writing plans, and developed a writing style that can persist.
Finally, in the way of reading the performance, the preliminary performances were performed on the works completed during this period, so that the creators could understand the possibility of their play being portrayed, observe the visual effects of the language and text of the works in the play space, and promote the writing exchanges between generations.
戲劇相關產業向來是文化創意產業中極其重要的一環；舉凡電影、電視、劇場、動畫，以及電玩等媒材，皆於當今社會中扮演著娛樂、教育大眾的重要角色，也因此營造出令人稱奇的龐大商機。本課程的設計，即以培訓編劇人才為目標；期能導引學生由點，而線，而面地循序漸進，清確掌握各類編劇的通則與細則。本課程的內容包括講解、實作、演講、發表等四大部份。「講解」一節主要由授課老師配合「戲劇賞析」一課，針對寫實性戲劇在舞台上的呈現要義，說明角色設計、情節鋪陳，以及主題營造等劇本編寫之重要面向。「實作」一節則要求學生於修課期間，配合授課進度蘊釀自己的角色和故事，並且在授課老師的督導下進行編寫和修改，最後完成一部可資演出的劇本。「演講」一節乃是由授課老師邀請國內知名編劇前來進行實質交流；一方面受邀者本身具有絕對豐富的編劇經驗可供學生參酌，再方面學生的作品也可透過第三者的眼光另獲評析。至於「發表」一節，則是將學生作品中較為優秀的幾部集結列印成冊，或可做為下一學期「戲劇製作」課中使用的材料。
Drama-related industry has always been an extremely important circle in cultural creative industry; all media such as movies, TV, dramas, animations, and video games play an important role in entertainment and education in today's society, and thus create a surprisingly large business machine. The design of this course is aimed at cultivating editorial talents; it is intended to guide students from point, line, and surface to step by step, and accurately grasp the general rules and details of various editing. The content of this course includes four major parts: explanation, writing, presentation, and publishing. The "Talk" session is mainly composed of the teacher and the "Drama Analysis" class, which highlights the essential aspects of the presentation of practical dramas on the stage, and explains the important aspects of script writing such as character design, storyline, and theme creation. The "Practice" section requires students to cooperate with the teaching progress of their roles and stories during the course, and write and revise them under the supervision of the teaching teacher, and finally complete a play that can be performed. The "Speaking" is a lecturer who invites famous domestic editors to come and have a practical exchange. On the one hand, the invitee has a rich experience in the editing process for students to consider, and on the other hand, the students' works can also be further analyzed through the perspective of a third party. As for the "Publishing" section, it is a collection of several outstanding works of students, or it can be used as materials for the next "Drama Production" course.
（1） 平田織佐著，戴開成譯。《演劇入門》。台北：書林，2015。
（2） 陳弘洋等著。《阮劇團2105劇本農場劇作選III》。台北：遠景，2016。
（3） 坂元裕二著，詹慕如譯。《花束般的戀愛》。台北：光生出版，2022。
（4） 賴聲川。《賴聲川：劇場4》。台北：元尊文化，1999。
（5） 紀蔚然。《拉提琴》。台北：印刻，2012。
（6） 羅蘭．希梅芬尼等著，陳佾均等譯。《個人之夢：當代德國劇作選》。台北：書林，2012。
(1) Hirata-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao-Tao- "Actoring Enters the Door". Taipei: Shulin, 2015.
(2) Chen Hongyang waited. "Ruan Drama Group 2105 Drama Selection III". Taipei: Far View, 2016.
(3) Writer of Yuu Sakamoto, Zhan Muru. "Love like a bouquet". Taipei: Guangsheng Publishing, 2022.
(4) The sound of the river. "The Legend of the Condor Heroes: Drama 4". Taipei: Yuanzun Culture, 1999.
(5) It is very exciting. "Vioid". Taipei: Printing, 2012.
(6) Roland. Ximefini waited, and Chen Yuyi translated equally. "Personal Dream: Selection of Contemporary German Dramas". Taipei: Shulin, 2012.
| 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 | 不可代簽，缺席四次以上者即視同放棄所有出席成績 |
| 分組報告與讀劇分組報告與讀劇 Sub-group reports and reading |
25 | 請評論組所選擇的劇本，就時間結構安排、事件因果 順序、人物性格造、對話或敘述風格等分項進行討論，讀劇組則選取劇本的精彩片段進行讀劇，每組時間為35-40分鐘 |
| 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 | 每人寫作約20-30分鐘的完整劇本，可分場，亦可為獨幕劇，禁止抄襲，經發現者一律以不及格論 |
