政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/51776

政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/51776

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政大典藏 > College of Liberal Arts > Department of Chinese Literature > NSC Projects > Item 140.119/51776

Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/51776

Title:	京劇表現形式的跨界歷程(III)─以20世紀晚期(1976年-1999年)為對象
Other Titles:	The Straddling of Zones Process about Beijing Opera(Ⅲ)-- in 20th Last Stage(1976-1999) Period
Authors:	侯雲舒
Contributors:	行政院國家科學委員會國立政治大學中國文學系
Keywords:	藝術京劇;跨界;20世紀晚期;Beijing Opera;Straddling of zones
Date:	2011
Issue Date:	2011-10-31 14:04:52 (UTC+8)
Abstract:	本計畫之提出，為申請人繼99年度國科會計畫[京劇表現形式的跨界歷程(Ⅱ)─以20世紀中期(1931-1964年)為對象]（計畫編號NSC 99-2410-H-004-184-）之總結計畫，也是本系列計畫的最後一期，以同樣的主題向下沿伸至二十世紀末期，此期計畫所採取的時間斷限為1976-1999年，共計約24年時間。此期計畫的涵蓋時間為三期中最短的，但所需處理的材料數量以及複雜性，卻是三期計畫中最多的一部份，並且，也是申請人之所以提出本系列計畫的最終動機與目標。戲曲的現代化，是當今兩岸戲曲舞台創新層面上常常被標舉出的一個概念，但如將「戲曲現代化」這項論題，做為研究主題來看的話，將可發現，早在晚清至民國初期，古老的戲曲如何改良，以便於與時俱進，就已經是當時甚囂塵上的討論課題。時至今日，「戲曲改良」或「戲曲改革」這種名詞已被「跨界」所取代，舉凡作品詮釋角度的跨界，表現手法的跨界(例如導演的身份的轉變、戲劇情節的呈現方式、服裝與化妝的新形式、乃至於舞台設計的創新、多媒體的運用)，音樂體系操作的跨界，演員行當或詮釋的跨界，或者不同戲劇或藝術形式在血統上相互融合的跨界等等。本期計畫之研究目的，即針對二十世紀後期京劇在擺脫了政治因素介入的雜音後，所呈現在藝術形式上不斷求新求變的追索過程，尤其聚焦於「跨界」這項議題上所做出的種種創新與改變。由1976-1999間的24年中，京劇的創作路線產生了巨大的轉變，以目前現有的材料來看，有幾個不同於以往的特色：其一，出現了大量質精且獨具個人風格特色的劇作家，並且將原本的「演員劇場」帶入了「劇作家劇場」的新里程。其二，出現了一批大膽創新的戲曲導演，用各種兼採眾長的手法，包括東西方戲劇理論、不同領域的表演形式、最新的舞台技法等，對京劇舞台加以豐實飽滿。他們對於話劇電影和各種理論技法均融合吸納，使得京劇的舞台展現及劇本詮釋得到前所未有的開展，也開啟了「導演劇場」的新路向。其三，在臺灣地區則呈現出以劇團為創作中心的特色，而最早嶄露頭角且最醒目的是幾個私人京劇團，如雅音小集、當代傳奇劇場、臺北新劇團等，而帶有官方雄厚實力的公營劇團如國光京劇團、國立臺灣戲專國劇團等，更將台灣京劇劇場的精緻化帶入了落實且穩健前進的趨勢上。其四，此外大陸地區尚有部分京劇作品屬於現代戲或改編西方文本的戲碼，這種現代戲在台灣也不斷出現，除了復興劇團的《阿Q正傳》、《羅生門》、出埃及；國光劇團的《廖添丁》外，就以當代傳奇劇場最為集中表現這類題材形式，他們屬於這類的劇碼如：《慾望城國》、《王子復仇記》、《樓蘭女》、《奧瑞斯提亞》等，這類作品不論在選材或技法上，話劇化或電影化的成分極高，表現特徵明顯，因此也是這一期非常值得探討的作品型態之一。本計畫之研究主題即立基於前述的背景之上，藉由二十世紀晚期這一時空背景中，對於京劇在表現形式上的跨界這個不論由戲理內部或表演外部所產生的改變與創新，追索與梳理「跨界」課題，在京劇發展歷程上所展現的各種不同脈絡。 This research is about the topic of 〝Beijing Opera Improvement〞in the last stages of twenty century(1976AD-1999AD) ,〝Beijing Opera Improvement〞was be discassed in this period oftenly. but most of research always focus their topic into the development of opera history, it’s a kind of perpendicular study. but this research is choose horizontal study to observed the Beijing Opera was how to match the other performance forms such as drama and movies.In this period（1976AD-1999AD），demonstrated according to the present existing material that, we may discover has several haracteristics: First, appeared the massive natures fine also the alone individual style characteristic playwright, Second, appeared one batch of bold innovation drama direct, Third, presents in the Taiwan area take the theatrical troupe as the creation center characteristic, Fourth, in addition the land area still had the part of Peking opera work to belong to the modern drama or to reorganize the Western text the program, this kind of modern drama also unceasingly appeared in Taiwan, no matter this kind of work in the selection or the technique, the speech dramatized or the picturizing ingredient is extremely high, the performance characteristic was obvious, therefore also was one of work states which this issue was worth discussing extremely.Research subject this plan namely stands based on the forecited background above, hopes to be able by the 20th century last period this space and time background in, regarding Beijing opera in manifestation straddling of zones this no matter produces by exterior the play principle interior or the performance the change and the innovation, presses for payment with combs ’the straddling of zones’ the topic, develops each kind of different vein at the Peking opera which on the course unfolds.
Relation:	基礎研究學術補助研究期間:10008~ 10107 研究經費:442仟元
Data Type:	report
Appears in Collections:	[Department of Chinese Literature] NSC Projects

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