互動的文學與表演---中華戲曲跨文化再研究;The Interacted Literature and Performance---A Further Study of Indigenous Chinese Theatre from the Cross-Cultural Perspective

NCUIR > College of Liberal Arts at National Central University > Department of Chinese Literature > Research Project > Item 987654321/55879

Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/55879

Title:	互動的文學與表演---中華戲曲跨文化再研究;The Interacted Literature and Performance---A Further Study of Indigenous Chinese Theatre from the Cross-Cultural Perspective
Authors:	孫玫
Contributors:	中央大學中國文學系
Keywords:	語文;戲曲文學;戲曲表演;表演文學;跨文化研究;xiqu (hsi-ch'u) literature;xiqu (hsi-ch'u) performance;performance literature;cross-cultural studies
Date:	2008-09-01
Issue Date:	2012-10-01 11:37:20 (UTC+8)
Publisher:	行政院國家科學委員會
Abstract:	本研究計畫從跨文化、跨領域的視野觀照中華戲曲，著重研究戲曲之本體----演劇。本計畫由相互關聯、相互支援的三個子題組成。第一子題「反省西方理論的移用，探究東方戲劇之特質」，對一些以西方戲劇理論枘鑿中華戲曲的代表性觀點進行批評，探析中華戲曲不同於西方戲劇之特質，充分認識「表演」在戲曲中至關重要的地位。第二子題「表演對文學之反作用----論清代戲曲『表演中心』之凸顯」，通過考察清代乾嘉以降戲曲演劇傳統及具體型態，具體地探尋當時戲曲藝人對於原文本的種種改動，從而認知其對於戲曲文學的反撥作用。第三子題「從『樣板戲』到『精品工程』----探析新戲曲之『專業化分工』創作方式/『編導中心』」，將重點剖析新戲曲的兩大案例----「樣板戲」和「精品工程」。該子題具體考察在西方強勢文化衝擊下，「專業化分工」創作方式/「編導中心」之產生、運用和操作，以及由此而引發的編劇和導演對表演制約作用之增強、戲曲演員創作空間之壓縮。總之，第一子題正本清源，為整個研究計畫奠定理論基礎，第二子題與第三子題分別研究傳統戲曲和新戲曲，形成對照、互相呼應，同時也為第一子題提出的觀點提供豐富的例證。 ; This research project will study indigenous Chinese theatre or xiqu (hsi-ch’ü) in interdisciplinary methodology from the cross-cultural perspective, focusing on its performance. The project will consist of three related parts that give mutual support. The first part of the project will criticize some representative viewpoints that judge indigenous Chinese theatre with Western criteria, and analyze the different characteristics between indigenous Chinese theatre and Western theatre, identifying the significance of performance in Chinese xiqu. The second part of the project will explore the performance tradition of xiqu since the middle of the Qing dynasty (1644-1911), and investigate performers’ impact on the literary compounds of xiqu by analyzing a variety of performers’ alterations found in stage scripts. Finally, the third part of the project will discuss “model revolutionary plays” in 1960s-1970s and the so called “national project to the distillation of the stage art” in this decade, two typical examples of a new kind of xiqu under the influence of Western theatre, in which various specialists such as the playwrights, directors, composers, choreographers, and performers join hands. The powerful impact of Western theatre on these two types of new xiqu plays shows vividly in the increasing authority of dramatic literature and directing arts, as well as drastic decrease of creative faculties and self-motivation on the part of the performers. To sum up, in this research project, the first part will build a theoretical basis for the two later parts while, as comparisons of traditional and modern xiqu, the second and third part will provide rich evidence for the first part ; 研究期間 9709 ~ 9807
Relation:	財團法人國家實驗研究院科技政策研究與資訊中心
Appears in Collections:	[Department of Chinese Literature] Research Project

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