| 摘要: | 京劇，在2010年獲選聯合國教育、科學及文化組織（UNESCO）之《保護非物質文化遺產公約》中「人類非物質文化遺產代表作名錄」（簡稱「代表作名錄），成為人類世界重要的文化財。
也因此再看京劇，它已不僅是地域性質的藝術型態，而是承載了跨越疆界、時代，同人類的生命呼吸而感受的藝術體質，隨著歷史人文的軌跡並行。非物質文化為「京劇」定義與表彰了世界價值的地位，使得近代的研究更具有意義，成為華人具有代表性的世界藝術，其傳承體系與發展，牽動著人才培養的教育系統建構，並視為京劇藝術能歷久而彌新的重要因素。緣此，本論文以「臺灣京劇教育體系變革之研究」為題，以臺灣所立基之京劇教育體系為研究主體，通過體制與人才養成教育之觀察，探討其建構、變革與發展過程。
論文內容計畫朝向臺灣京劇教育屬於體制的、核心的、人文的、現代的、創作的、新式的各層面做研究，含括於「京劇教育體制之傳承與奠基」、「京劇教育之表演、樂隊與服裝容妝」、「京劇教育之文史教學發展」、「京劇教育體系擴張與現代創新」以及「京劇教育之編導課程建構」五大區塊研究，探討迄今近七十年來的時代推移與階段發展的衍變歷程。
有關體制方面的變革以西元1954年起臺灣建構京劇教育體系之始，有關於傳統科班與新式戲校的體制融合與繼承，從各校的體制轉換，到職業教育、藝術教育之脈絡與關聯，探析其變革的歷程。
第一波以西元1954年起陸續成立的軍中小班與由私轉公的復興劇校等教育制度為研究方向；第二波以西元1989年後，探討體系建構中屬於教師教學、訓練人才的核心教育與系統化走向，從第一代師資繼承傳統、面向現代的勢態，其豐富的技藝識能為教育部《劇藝學校國劇科課程標準》奠基了充實的京劇教育的體系，尤其建構了各行當教學劇目，成為京劇教育養成階段的重要劇目體系。
第三波探西元1999年時歷經多重變革而現存唯一的「臺灣戲曲學院」，分析「十二年一貫制」教育的擴充所帶來的轉型與「多元化」的時代現象，京劇是如何轉身、融合於現代化的世界。另從兩岸京劇教育交流，及至國際化推進文化外交到跨文化教育推廣等型態的變化觀察，所給予的體系革新與發展。
京劇的文史教育，主要在教育部推動各劇校之輔助教學方法，探討「劇本集成」、「文史補充教材」與「劇本研讀」三大教材之研發，提供劇藝教學劇目學習延伸的方法，以人文知識培養學生對人文感受力與藝術創造力的啟發；教師則可透過教材來建立教學的原理與方法，進而發展教學的專業工作。
京劇創作在現代化後，借鑑學習了現代劇場，同時在跨入高等教育之際，將創作所需的編導職能結合京劇教育養成，為京劇人才開拓新的舞台與產業價值。京劇編導教育將探討臺灣的京劇教育「十二年一貫制」學程中結合編劇、導演所建立的專業職能與應用教學。
二十一世紀又進入一次新的世代轉換，京劇教育的下一步如何前進，是我輩要思考的課題。本文結論於回顧與省思，提出了四個面向是需要持續更新，分別以「京劇的產業鏈價值」、「創新教育與課程地圖建構」、「人文教育的敘事研究」以及「兩岸交流與國際化持續推展」四項觀點分析建議，並展望未來京劇教育在「人才培育新觀念」與「藝師生命史與敘事教育」等進行研究，為京劇教學與學生學習，更新方法與翻轉經驗。
現今社會快速發展，文化生態變化急遽，鑑往得以知今，可以開來，本文以臺灣京劇教育近七十的敘事框架，研究論述教育建構的體系脈絡及變革歷程，希望通過本文將京劇現今傳統與創新併軌的體質，為臺灣京劇教育體系作更新的視角與論述。;Jingju was selected as the “Masterpieces of the Oral and Intangible Heritage of Humanity” (the Representative Work) under the Convention for the Safeguarding of the Intangible Cultural Heritage by the United Nations Educational, Scientific, and Cultural Organization (UNESCO) in 2010, making it an important Cultural heritage for humanity all over the world.
Therefore, when we look at Jingju, it is no longer just a regional art form, but an art form that transcends borders and generations, breathes the same way as humans, and follows the track of history and humanity. The intangible culture has defined and recognized Jingju’s world value that makes the recent research of Jingju more meaningful; and, furthermore, has become a representative of world art for Chinese people. The system of inheritance and development of Jingju affects the construction of the education system for the cultivation of talents, which is considered as an important factor for Jingju to be able to remain new over the years. Thus, the topic of this dissertation is “the Study of the Transformation of Jingju Educational System in Taiwan,” based on the established Jingju education system in Taiwan and probes its transformation and development through observation of its systematic framework and talent cultivation.
The content of this dissertation is focused on the institutional, core, humanistic, modern, creative, and new aspects of Jingju education in Taiwan, including the five areas of "Inheritance and Foundation of the Jingju Educational System," "Performances, Orchestras, and Costumes in Jingju Education," "Development of humanistic education in Jingju Education," "Expansion of the Jingju Educational System and Modern Innovations," and "Establishment of Playwriting and Directing Course Mapping in Jingju Education.” The study examines the evolution of time and stages of development over the past seventy years.
The institutional modification starts with the establishment of the Jingju education system in Taiwan in 1954, and the integration and succession of the systems of the traditional and professional Jingju training and the new-style Jingju schools are analyzed in terms of the transformation of the systems of the various schools, as well as the links and connections between vocational education and art education.
In the first period, the educational systems of the small classes in military schools and the “Chinese National Opera Troupe” (from private to public) were established one after another since 1954 as the direction of the study. After 1989, in the second period, the core education and systematization of teachers′ teaching and talent training in the construction of the system were explored, and the first-generation teachers inherited the traditions and oriented to the modern trend, and their rich technical knowledge laid a solid foundation for the “Standard Curriculum in Jingju Schools." A solid system of Jingju education, and in particular, constructed a repertoire of plays for teaching various subject of study, which became an important repertoire system in the developmental Jingju education.
In the third period, after 1999, by the analyzing of the only existing "National Taiwan College of Performing Arts", to engage the transformation and diversification brought about by the expansion of the "twelve-year system" of Jingju education; as well to understand how Jingju has transformed and integrated into the modernized world. In addition, from the Jingju education exchanges cross-strait to the promotion of cultural diplomacy internationally, and to the observation of the changes in cross-cultural education and promotion, given the system innovation and development.
The Ministry of Education promotes the auxiliary teaching methods of the Jingju schools by exploring the development of three major teaching materials, namely, "script integration", "literature and history supplementary teaching materials", and "script study", to provide an extension of Jingju repertoire learning; and, moreover, to cultivate students′ sensibility for humanities and artistic creativity through humanistic knowledge. Teachers can establish the principles and methods of teaching through the teaching materials, and then develop professionalism in teaching and learning.
The creation of Jingju has learned from the modern theatre after its modernization, and at the same time, when entering higher education, the function of playwriting and directing required for the creation of Jingju combined with Jingju education cultivation, which opens a new stage and industrial value for Jingju talents. The Jingju playwriting and directing education will explore the professional functions and applied teaching of playwriting and directing that have been established in Taiwan′s 12-year Jingju education program.
The twenty-first century has confronted a new generational transition, and the next step in Jingju education is a topic for our generation to consider. This paper concludes with a review and reflection, and proposes four aspects that need to be continuously renewed, namely, "the value of the industrial chain of Jingju," "innovative education and course map construction," "narrative research in humanities education," and "cross-strait exchanges and the continuous development of internationalization," as well as prospecting to the future study of Jingju education in the "new concepts of talent cultivation," and "the life of the artists and narrative education,” for Jingju education and students’ learning to update the methodology and reverse experience.
Nowadays, with the rapid development of society and the rapid changes in the cultural ecology, we can learn from the past to understand the present, and we can create the future. This paper takes the narrative framework of Jingju education in Taiwan for nearly seventy years, and studies and discusses the systematic network and the process of changes in the educational structure. Hoping that through the merging of the traditional and innovative qualities of Jingju in this paper, it will bring newer perspectives and the discussion for the
Jingju education system in Taiwan. |
