戲曲創作中「人稱視角」的編劇學研究

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Title:	戲曲創作中「人稱視角」的編劇學研究
Authors:	仲雨晴;Zhong, Yu-Qing
Contributors:	中國文學系
Keywords:	戲曲編劇;人稱;視角;創作;戲曲劇本;表演形態
Date:	2021-05-18
Issue Date:	2021-12-07 11:05:09 (UTC+8)
Publisher:	國立中央大學
Abstract:	戲曲作為一種生於本土長於本土的表演藝術，千百年來在舞台呈現上建立起了獨特的表達方式和編創技巧，它的藝術本質就與這種獨特性有關。但是，由於自身理論的缺乏以及西方強勢文化的影響，如今的戲曲編劇在現實操作上往往對戲曲自己的獨特本質有所忽視。本文討論的戲曲中人稱和視角的轉換就是這樣一種屬於戲曲本質，又常被忽視的創作手法。戲曲的「人稱視角」不僅僅是簡單語法中的第一、第二、第三人稱或是全知視角，更代表了舞台演出中戲曲演員和劇中人的關係，也包含著編創著如何將故事呈現給觀眾的方法。因此人稱和視角的轉換是古典戲曲的留下的寶貴財富，也是戲曲舞台表演和我們能看到的歷史文本材料的橋樑。當代以來，戲曲編劇已經形成了一種獨立于戲曲導演和演員的職業，但是對於戲曲編劇法的研究卻仍有可以補充的部分，尤其是在古典戲曲理論的方面。因此，本文希望從編劇學的角度回看戲曲的歷史，詳細梳理人稱視角轉換在戲曲編創中的重要性和操作規律，從而建立編劇理論詳細探討。通過編劇學理論的研究，為當下的戲曲編劇實務做出一些參考。 ;As a performance art born and grown in the local area, Xiqu has established unique expression methods and choreography skills on stage presentations for thousands of years, and its artistic essence is related to this uniqueness. However, due to the lack of its own theory and the influence of Western theories, today′s opera screenwriters tend to ignore the unique nature of opera in practical operations. The transformation of person and perspective in opera discussed in this article is such a creative technique that belongs to the essence of opera and is often overlooked. The personal perspective of opera is not only the first, second, third person or God perspective in simple grammar, but also represents the relationship between the opera actors and the people in the stage performances, and it also includes how the writers present the story to The audience′s approach. Therefore, the transformation of person and perspective is a valuable asset left by classical opera, and it is also a bridge between opera stage performances and historical text materials that we can see. Since contemporary times, drama screenwriters have formed a profession independent of drama directors and actors, but there are still parts that can be supplemented in the study of drama screenwriting methods, especially in classical drama theory. Therefore, this article hopes to review the history of opera from the perspective of screenwriting, comb the importance and operating rules of the transformation of personal perspective in the creation of opera in detail, and establish a detailed discussion of screenwriting theory. Through the study of screenwriting theory, some references are made for the current practice of drama screenwriting.
Appears in Collections:	[Graduate Institute of Chinese Literature] Electronic Thesis & Dissertation

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