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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4341

    Title: 崑劇《牡丹亭》之舞台美術研究──以1980年以後演出為主要探討對象;A Study on Kuqku Opera's Stage Art of "The Peony Pavilion(MuDan Ting)" after 1980 A.D.
    Authors: 陳怡如;Yi-Ju Chen
    Contributors: 中國文學研究所
    Keywords: 崑劇;牡丹亭;舞台美術;表演;MuDan Ting;Kunqu;Peony Pavilion;Stage art;Perfomance
    Date: 2007-06-28
    Issue Date: 2009-09-22 09:17:01 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 明代湯顯祖所著傳奇《牡丹亭》,因為有精彩的情節、優美的文辭、唱唸與表演身段,被視為崑劇的代表劇目之一,至今仍相當受到歡迎。 隨著時代、戲劇觀念和劇場技術的進步,戲曲發展的情況受到影響,產生了很大的變化。海峽兩岸在戲曲發展的進程雖不同,但在1980年以後,不約而同加強了「採用多樣創意輔助戲曲現代化」的方式,兩岸的戲曲演出因而展現了更多不同的面貌。其中,舞台美術在演出的視覺呈現上,佔有很重要的位置。《牡丹亭》在1980年以後有豐富的演出紀錄,除了劇本改編、表演風格之外,在舞台美術設計方面也有相當多樣的成果,透過對《牡丹亭》演出經驗的研究,除了回顧二十餘年以來的成果,亦可一窺崑劇在當代,要重新演繹一部經典作品時,舞台美術設計所把握的原則和表現特色。期望能夠對《牡丹亭》與崑劇舞台美術方面的研究有所貢獻。 本論文從1980年以後較重要的《牡丹亭》演出中,選擇十個版本為對象,根據錄影、訪談、圖片、評論與文獻,從舞台樣式、燈光設計與人物造型三方面切入,進行說明與討論,並加以比較分析。 根據研究的成果可知,1980年以後的《牡丹亭》在各種因素的變動與影響之下,每個版本皆有其特別的製作訴求與主題概念,因而使舞台美術的表現趨向更多樣化。就整體設計趨勢而言,有下列三點特色: 1. 運用燈光技術加強舞台效果、表現劇情氛圍 2. 傳統的穿戴規範開始有鬆動的情況,增加造型設計的可能性 3. 依版本需求設計專屬舞台美術道具的例子增加 此外,從《牡丹亭》的情形可以反映出,即使是有很長的演出歷史與深厚的傳承經驗,傳統劇目在當代仍有變化出不同面貌的極大可能。 然而,在舞台美術設計得以大幅發揮的情況下,依然不能忘記崑劇的精髓在於表演本身,所有設計皆應配合表演,而非只注重表現主題概念、運用技術而已。除了創新之外,詮釋經典劇目還是應該注重崑劇本身藝術特質的發揚,力求達到「曲高和眾」的目標。 “The Peony Pavilion (MuDan Ting)”, is a Script that was written by Tang XianZu in the Ming dynasty. Thespectacular story, beautiful rhetoric, the skills of singing and the aesthetic figure required for the performance All contributed to its standing as one of the major representative works of the Kunqu Opera .It still remains a well-liked, popular play to this very day. The progress of theatrical concepts combined with the advancements in techniques utilized for theatrical presentation, has dramatically influrnced the developement of Kunqu Opera . Although the developmental progress of Kunqu Opera varies across the strait,Both selected the method of “utilizing plural creationism” to assist the modernization of Kunqu Opera after the 80s, thus created more different looks for the performances of Kunqu Operas, An intrinsic part is the visualization of the stage art during a performance. ”The Peony Pavilion” has an impressive number of performance after the 80s, aside from various adaptations of the original script and differing performance style, it also sees a diversified accomplishments in the designs of stage art. through the study of the performances of “The Peony Pavilion”, not only can we appreciate its incrdedible accomplishments for the last 20 years, we can also infer what principles and unique elements of presentation that must be grasped in the stage art design..We hope the study will yield meaningful contributions on the subject of “The Peony Pavilion” and the stage art of Kunqu Opera. After careful examination of visual documentation, interviews of relevant personnel, related photo documents, reviews and literatures, 10 differing versions of “The Peony Pavilion” created after the 80s were selected for introduction, discussion, and a comparative analysis. The study approach the subject from three angles—stage structure, lighting design, and the character styling. A conclusion could be drawn from the results of this study that under the influences of varying factors, each version of “The Peony Pavilion” created after the 80s has its distinct philosophy and concept. So the presentation of stage art has diversified as a result. There are three distinct features regarding the trends of “The Peony Pavilion” stage art from 1980,to present day: 1. The utilization of lighting techniques to reinforce the dramatic atmosphere on the stage. 2. The looseing of rigid stipulation for traditional clothing has brought new possibilities for character styling. 3. The increase of cases where the design of specialized stage art equipments are required.  Additionally, the experiences of “The Peony Pavilion” reflected that even with a long and distinguished performance history coupled with the burden of maintaining a tradition, Kunqu opera scripts still have the potential to provide a very different experience. However, even in the face of a radically altered philosophy regarding stage art, the essence of Kunqu Opera still lies with the performers’ active presentation,the designs of stage art should always conform to the performances, rather than concentrating on presenting the ingenuity of the craft.Aside from creative innovations, the interpretation of classical plays should still concentrate on appreciating the unique qualities of Kunqu Opera, and should endeaver to reach the goal of popularizing this elegant performing art without losing its fine spirit.
    Appears in Collections:[中國文學研究所] 博碩士論文

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