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，愛情、性別、生死、慾望、生命的侷限，都是當代戲曲的主題。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。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。
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。
歡迎大家一起走入當代戲曲與劇場的世界！Here we will lead everyone to the class stage of contemporary drama and drama. You will find a drama world that is completely different from the traditional one. Classical dramas have received re-explanation in contemporary dramas by sympathizing, post-designing, re-exploring, and mocking, and have become common expressions of contemporary dramas across dramas, cross-art, art, and cross-culturalism. In this way, modern novels and comics may also become creative spirits, while traditional dramas have one table, two chairs and a writing stage, and have changed to a richer visual language as another language for expression in the contemporary era. However, what remains unchanged is that it still outlines people's deepest and detailed feelings in the most detailed way, allowing the value and emotions of contemporary people to reappear in the drama. Love, gender, life and death, desire, and the limitations of life are all contemporary The theme of the song. In the short theater time, we rethink the way our lives exist.
In the course arrangement, the performances from the contemporary Taiwanese drama are used as teaching content, and the connotation, expression form, theme and emotions of the drama, and contemporary drama aesthetics used to assist the presentation of the drama are analyzed and discussed one by one. How contemporary dramas can create a dialogue that transcends time and space between different texts through various modification techniques will also be the connotation of our discussion with our classmates. Through this course, we hope to give students a preliminary understanding of the contemporary drama morphology in Taiwan, and then cultivate the ability to comprehend and comment on dramas.
The creation and performance of this era must, on the one hand, follow the classical foundation and grasp the unique performance aesthetics belonging to the drama, but at the same time, it also needs to be changed due to the changes in the contemporary environment, drama characteristics and audience aesthetic awareness, in terms of theme consciousness and artistic connotation. Make adjustments. On the one hand, it is used to attract contemporary audiences to the theater, and when facing this traditional art, it is still touched by it. On the other hand, these creations and performances are also building our own contemporary drama history.
Welcome everyone to enter the world of contemporary dramas and dramas!
王安祈：《當代戲曲》，台北：三民出版社，2002年。
王安祈：《絳唇珠袖兩寂寞──京劇．女書》，台北：印刻出版社，2008年。
王安祈：《孟小冬》
孔尚任：《桃花扇》
二分之一Ｑ劇場：《亂紅》
張愛玲：《金鎖記》
趙雪君：《狐仙故事》
王安祈：《臺灣京劇五十年》，宜蘭：國立傳統藝術中心，2002年。
張育華、陳淑英：《國光品牌學：一個傳統京劇團打造臺灣劇藝新美學之路》，台北：時報出版社，2019年。
Wang Anqi: "Contemporary Song", Taipei: Sanmin Publishing House, 2002.
Wang Anqi: "Two loneliness in the lip and bead sleeves" - Beijing drama. Women's Book", Taipei: Printing Press, 2008.
Wang Anqi: "Meng Xiaodong"
Kong Shangren: "Peach Blossom Fan"
One-half Q drama scene: "The Red"
Zhang Ailing: "Golden Lock Notes"
Zhao Xuejun: "The Story of the Fox Fairy"
Wang Anqi: "Fifty Years of Beijing Drama in Taiwan", Yilan: National Center for Traditional Arts, 2002.
Zhang Yuhua and Chen Shuying: "Guangguang Brand Study: A Traditional Beijing Drama Group to Create a New Aesthetics in Taiwan", Taipei: Times Press, 2019.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 期末考期末考 Final exam |
50 | |
| 學期報告學期報告 Study period report |
30 | 十七、十八週作業 |
| 平時成績平時成績 Regular achievements |
20 |
