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！In this course, we will lead everyone into the class stage of contemporary opera and theater. You will discover a drama world that is completely different from the traditional one. Classical scripts are reinterpreted in contemporary theater through parody, post-production, re-exploration, and ridicule. Cross-drama, cross-art, and cross-culture have become common expressions of contemporary opera. In this way, modern novels and comics may also become creative inspirations, and the one table, two chairs and freehand stage of traditional dramas have also been replaced by a richer visual vocabulary as another language of expression in contemporary times. However, what remains unchanged is that it still outlines people's most profound and detailed feelings in the most meticulous way, allowing contemporary people's values and emotions to reappear in the theater. Love, gender, life and death, desire, and the limitations of life are all contemporary The theme of the opera. In the short time in the theater, we can rethink the way we exist in life.
In the arrangement of the course, opera performances in Taiwan's contemporary theater will be used as the teaching content, and the script connotation, expression form, theme emotions, and contemporary theater aesthetics used to assist the presentation of drama will be analyzed and discussed one by one. How contemporary opera can create a dialogue across time and space between different texts through various adaptation techniques is what we hope to share with our classmates. Through this course, we hope that students will have a preliminary understanding of the form of contemporary Taiwanese opera, and then develop the ability to appreciate and comment on a drama.
The creation and performance of opera in this era must, on the one hand, adhere to the classical foundation and grasp the unique performance aesthetics of opera, but at the same time, it also needs to respond to changes in the environment of the times, theater characteristics and the audience's aesthetic consciousness, in terms of theme consciousness and artistic connotation. Make adjustments. On the one hand, it is used to summon contemporary audiences to enter the theater and still be moved by this traditional art. On the other hand, these creations and performances are also establishing and accumulating our own history of contemporary opera.
Welcome everyone to enter the world of contemporary opera and theater!
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 Opera", Taipei: Sanmin Publishing House, 2002.
Wang Anqi: "Red Lips and Beady Sleeves Are Lonely──Peking Opera." "Nüshu", Taipei: Yin Ke Publishing House, 2008.
Wang Anqi: "Meng Xiaodong"
Kong Shangren: "Peach Blossom Fan"
Half Q Theater: "Red"
Zhang Ailing: "The Story of the Golden Lock"
Zhao Xuejun: "Fox Fairy Story"
Wang Anqi: "Fifty Years of Peking Opera in Taiwan", Yilan: National Center for Traditional Arts, 2002.
Zhang Yuhua and Chen Shuying: "Guoguang Brandology: A Traditional Peking Opera Troupe Creates a New Aesthetics for Taiwanese Theater Arts", 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 |
35 | |
| 學期報告學期報告 term report |
35 | |
| 平時成績平時成績 usual results |
30 |
