| 摘要(英) |
Abstract
This thesis mainly deals with Wei Ying-chuan’s theatric works in terms of her use of body movements as her important dramaturgical method after 1995 and up till present. During this period of time,turning away from spoken language apparently is one of the most obvious characteristics in Wei Ying-chuan’s works. Without any help from spoken language, Wei appeals to lots of silent body movements to proclaim the distinction with preceding realistic performance and, most importantly, to announce her self-styled theatric esthetics as an instrument for the expression of the deeper levels of meanings. To make my idea clear, I borrow from Chou Huie-lilng’s description and try to term Wei’s works as a sort of “Non-narrative Body Performance.” Therefore, my task here is to re-represent this non-narrative body performance, putting my interpretation into words, transferring them from stage into page. In such doing, I also try to sort part of Wei Ying-chuan’s works and categorize them into three phases and then structure these three phases as three independent chapters in my thesis. These three phases are Gender Phase from 1995 to 1997, Choreography Phase from 1997 to 1999 and finally Literature Phase from 2000 up till now.
In addition to interpreting Wei Ying-chuan’s works in three phases, I also seek to contextualize Wei Ying-chuan’s use of body movements, or say, her self-styled aesthetics into Taiwan’s modern theatre history to see whether Wei Ying-chuan’s use of body movements, in fact, has reflected or even embodied any aesthetic or political radicalization or whether these body movements have anything to do with so-called Little Theatre Movements in the 1980s. Labeled as little theatre director, Wei Ying-chuan and her works are frequently mentioned and referred to the commonplace that Taiwan’s little theatre has to be avant-garde in aesthetics and also has to be radical in politics. However, what is the proper attitude or position an artist possesses when he or she is engaged in artistic creation? What if an artist comes to believe “art for art’s sake” and insists voicing his or her own personal sensibility? Some may feel that all experimental and avant-garde theatre has to be alternative and radical in politics or in aesthetics because it is different than – and therefore opposed to – the traditional and accepted. This thesis is not about the recovering of Wei’s aesthetics regarding movements, images, and directory methods, since they have long existed there in her works, but actually writing aesthetics in retrospect Wei’s career. To see her accumulation in aesthetics from 1995 up till now, this thesis also counts for giving her aesthetics some credit for her use of body movements as original collage or pastiche. Therefore, what I have done is not only writing aesthetics but also documenting history to see an artist develops her aesthetics through years’ accumulations. |
| 參考文獻 |
Aronson, Arnold. American Avant-garde Theatre: A History. New York: Toutledge,2000.
Aston, Elaine. Feminist Theatre Practice: A Handbook. New York:Routledge,1999.
Barba, Eugenio and Savarese, Nicola. A Dictionary of Theatre Anthropology: The Secret Art of the Performance. New York: Routledge, 1991.
Boal, Augusto. The Rainbow of Desire. Trans. Adrian Jackson. New York: Routledge, 1995.
___________. Hamlet and the Baker’s Son: My Life in Theatre and Politics. Trans. Adrian Jackson and Candia Blaker. London and New York: Routledge, 2001.
__________. Theatre of the Oppressed. Trans. Charles A. Maria, Odilia Leal McBride. New York : Theatre Communications Group, 1985.
Brook, Peter. The Shifting Point: 40 years of Theatrical exploration 1964-1987. London: Methuen. 1987.
___________. The Empty Space. London: Penguin, 1990.
___________. There Are No Secrets: Thoughts on Acting and Teatre. London: Methuen, 1993.
Bulter, Judith. Bodies that matter : on the discursive limits of "sex." New York : Routledge, 1993.
Bulter, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,1999.
Calvino, Itolo. Six Memos for the Next Millennium. New Youk: Vintage Books, 1993.
___________. Why Read the Classics? New York: Vintage Books, 2000.
Carlson, Marvin. Theories of the Theatre: A Historical and Critical Survey, from the Greeks to the Present. London: Cornell University Press, 1984.
Chung, Ming-der. The Little Theatre Movement of Taiwan (1980-89): In Search of Alternative Aesthetics and Politics. Diss. New York University, 1992.
Clum, John. Acting Gay: Male Homosexuality in Modern Drama. New York: Columbia University Press, 1992.
Cruz, Amada, and Smith, Elizabeth, and Jones, Amelia, ed. Cindy Sherman: Retrospective. London: Thames and Hudson Ltd. 2000.
Deak, Frantisek. Symbolist Theatre: The Formation of an Avant-garde. Baltimore: John Hopkins University Press. 1993.
Diamond, Catherine Theresa Cleeves. The Role of Cross-Cultural Adaptation in the “Little Theatre” Movement in Taiwan. Diss. University of Washington, 1993.
Ewing, William. The Body. London: Thames and Hudson Ltd, 1994.
Garb, Tamar. Bodies of Modernity: Figure and Flesh in Fin-de-Siècle France. London: Thames and Hudson Ltd, 1998.
Garber, Frederick, Repositionings: Readings of Contemporary Poetry, Photography, and Performance Art. Pennsylvania: The Pennsylvania State University Press, 1995.
Goldberg, RoseLee. Performance Art: From Futurism to the Present. London: Thames and Hudson, 1979.
Goodman, Lizbeth, ed. The Routledge Reader in Gender and Performance. London: Routledge, 1998.
Houfe, Simon. Fin de Siecle: The Illustrators of the Nineties. London: Barrie & Jenkins, 1992.
Joughin, John. Philosophical Shakespears. New York: Routledge,2000.
Jowitt, Deborah, ed. Meredith Monk. Baltimore: The Johns Hopkins University Press,1997.
Kirby, Michael. A Formalist Theatre. Philadelphia: University of Pennsylvania Press, 1996.
Mulvey, Laura. Fetishism and Curiosity. Indiana: Indiana University Press, 1996.
Rubinstein, Ruth P. Dress Codes:Meanings and Messages in American Culture. Boulder: Westview Press,1995.
Pults, John. Photography and the Body. London: Calmann and King Ltd, 1995.
Schechner, Richard. Between Theatre and Anthropology. Philadelphia: University of Pennsylvania Press, 1985.
Schechner, Richard and Appel, Willa, ed. By Means of Performance. Cambridge: Cambridge University Press, 1990.
Schechner, Richard. Environmental Theatre. New York: Applause, 1973.
Schechner, Richard and Wolford, Lisa, ed. The Grotowski Sourcebook. New York: Routledge, 1997.
Schwarts, Adra. Sexual Subjects: Lesbians, Gender, and Psychoanalysis. New York: Routledge,1998.
Stanislavski, Constantin. Building a Character. Trans. Elizabeth Reynolds Hpgood. New York: Routledge, 1977.
Turner, Victor. The Anthropology of Performance. New York: PAJ Publications,1988.
West, Shearer. Fin de Siècle. London: Bloomsbury Publishing Limited, 1993.
Wittig, Monique. The Straight Ming and Other Essays. Boston: Beacon Press,1992.
Wolford, Lisa. Grotowski’s Objective Drama Research. Mississippi: University Press of Mississippi, 1996.
于善祿，〈打開台灣劇展史〉，《表演藝術》，2000年3月，頁197-222。
王友輝，〈台灣實驗劇展研究1980-1984〉，《藝術評論》，2000年，頁197-222。
王墨林，《都市劇場與身體》，台北：稻鄉出版社，1992。
田本相，《台灣現代戲劇概況》，北京：北京文化藝術出版社，1999年。
邱妙津，《蒙馬特遺書》，台北：聯合文學，1996。
李立亨，《我的看戲隨身書》，台北：天下文化，2000年。
______，《我的看舞隨身書》，台北：天下文化，2000年。
吳士宏，《舞蹈評析與身體觀》，台北：五南，2001年。
周慧玲，〈五花八門的「女」節〉，《表演藝術》，1996年5月，頁65-66。
______，〈彩色語言花手套，粉紅蘭寶螢光綠-屬於台灣的當代女性表演〉，《表演藝術》，1996年5月，頁67-69。
______，〈超文本表演跨語言書寫-劇場文學生活，一樣人生、二分書寫、三種文本〉，《表演藝術》，2000年11月，頁84-86。
______，〈旁觀靜待的另一隻眼〉，《瘋狂場景：莎士比亞的悲劇簡餐節目單》，2002年，12月。
俞聖倫，〈魏瑛娟在小劇場理重現台灣的大病〉，《新新聞週報》，1997年9月，550期，頁66-68。
俞聖倫，謝金蓉，〈說不說台詞，魏瑛娟都是兩岸三地的紅牌〉，《新新聞週報》，1998年5月，585期，頁82。
姚一葦，《戲劇與人生》，台北：書林，1995年。
______，《戲劇原理》，台北：書林，1992年。
______，《戲劇論集》，台北：台灣開明，1988年。
馬森，《中國現代戲劇的兩度西潮》，台北：文化生活新知，1991年。
____，《當代戲劇》，台北：時報，1991年。
____，《戲劇：造夢的藝術》，台北：麥田，2000年。
____，《馬森戲劇論集》，台北：爾雅，1985年。
____，〈戲劇中的肢體說了什麼〉•《表演藝術》，2001年6月，頁103-104。
陸愛玲，〈化裝舞會裡的政治伴奏〉，《表演藝術》，1997年6月，頁91-93。
紀蔚然，〈歷史脈絡中的小劇場〉，《表演藝術》，1996年9月，頁98-99。
______，〈探索與規避之間--當代臺灣小劇場的些許風貌〉，《中外文學》，2002年11月，頁48-58。
紀慧玲，〈逢場作戲、秀出女人多樣貌〉，《民生報》，1996年1月13日。
______，〈魏瑛娟漫遊世界，小劇場跨國拓視野〉，《民生報》，2001年3月18日。
陳品秀，〈讓動作的歸動作-古名伸與魏瑛娟的動作美學〉，《表演藝術》，1999年6月，頁9-11。
______，〈7-11全年無休的創作與愛情〉，《表演藝術》，1998年7月，頁34-37。
傅月庵，〈在肢體與文字之間遊戲-觀《給下一輪太平盛事的備忘錄-動作》有感〉，《表演藝術》，2001年12月，頁70-71。
曹小容，《實驗劇場》，台北：揚智，1998年。
黃仁，《台灣話劇的黃金時代》，台北：亞太，2000年。
____，《臺北市話劇史九十年大事紀》，台北：亞太，2002年。
黃麗如，〈美好的仗還是會打下去：劇場人的政治經驗〉，《表演藝術》，2001年12月，頁16-19。
焦桐，《台灣戰後初期的戲劇》，台北：臺原，1990年。
楊婉怡，〈凝望•純粹-測記《給下一輪太平盛世的備忘錄-動作》〉，《表演藝術》，2001年10月，頁52-55。
趙慶華，〈當導演與作家相遇，當劇場與文學交會--請走進「臺灣文學劇場」〉，《新觀念》，2000年10月，頁58-61。
蔡依雲，〈著魔-從東京到台北〉，《表演藝術》，1997年9月，頁24-27。
蔡依雲，〈別著一朵紅花的卡爾維諾〉，《表演藝術》，2001年12月，頁67-69。
鍾明德，《繼續前衛：尋找整體藝術和當代台北文化》，台北：書林，1996年07月。
______，《台灣小劇場運動史》，台北：揚智，1999年7月。
______，《在後現代主義的雜音中》，台北：書林，1991年7月。
______，《從馬哈/薩德到馬哈臺北》，台北：書林，1988年。
______，《神聖的藝術：葛羅托斯基的創作方法研究》，台北：揚智，2001年7月。
魏瑛娟，〈再不腳踏實地支援小劇場就算批評「切腹表演」也沒用〉，《新新聞週報》，1997年9月，551期，頁70-75。
______，〈妹妹們的魔法書-《關於666-著魔》的凌亂筆記〉，《影響雜誌》，1997年11月。
______，〈翻桌倒椅，百無禁忌〉，《表演藝術》，1998年4月，頁90-92。 |
[Endnote RIS 格式]
[相關文章]
[文章引用]
[完整記錄]
[館藏目錄]
[檢視]
plurk
funp
live
udn
HD
myshare
netvibes
friend
youpush
delicious
baidu
Google bookmarks
del.icio.us
hemidemi
facebook
twitter
google
reddit