新戲曲之路 : 奇巧劇團創作風格研究 = A Path of New Xiqu : The Style of ChiChiao Musical Theatre

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新戲曲之路 : 奇巧劇團創作風格研究 = A Path of New Xiqu : The Style of ChiChiao Musical Theatre
著者: 劉建華
國立臺南大學戲劇創作與應用學系碩士班
主題: 奇巧劇團戲曲現代化歌仔戲豫劇新戲曲胡撇仔戲; ChiChiaoMusicalTheatre modernizationofxiqu Gezaixi Yuju newxiqu Opeila
描述: 自1980年代以來，臺灣戲曲現代化的發展可說是百家齊鳴、百花齊放，進入21世紀，戲曲現代化有更多不同的試驗方向。在跨劇場、跨劇種、跨音樂體系的戲曲現代化發展趨勢中，2004年出現了一個專以跨劇種實驗為訴求的團體－奇巧劇團。 2011年，奇巧劇團推出創團作品《金蘭情X誰是老大》，用多元混搭的表演方式，呈現出不同的戲曲樣貌，其獨樹一幟演出形式旋即受到矚目，學者以「臺灣新戲曲」稱之。該團創辦至今11年，大小作品累積十餘齣，在表演形式上，則大致可歸納出三項表演風格，亦為本文所稱奇巧劇團「新戲曲」之藝術特性：1.該表演形式使用兩種以上戲曲聲腔；2.其音樂創作上混融了戲曲音樂及流行音樂；3.表演方法上跨用了傳統戲曲功法，以及現代戲劇之寫實表演。這種「新戲曲」表演形式跨越傳統戲曲、劇種、現代戲劇、現代音樂，無法被歸類在某一個戲曲種類。然而，這種新形態戲曲究竟是一時興起的混搭拼貼？還是臺灣戲曲現代化發展的新道路？在種種的嘗試下，奇巧劇團究竟開創出什麼樣的「新戲曲」景觀？本論文首先以大量第一手資料，對奇巧劇團之創團歷程、歷年作品及團務運作方向做詳實之紀錄整理；其次，從戲曲概論相關文獻之分析出發，說明與本文所稱之奇巧「新戲曲」的風格及形塑。再以《金蘭情X誰是老大》v2.12、《波麗士灰䦨記》、《我可能不會度化你》三部新戲曲作品為主要標的，針對文本、音樂、導表演等重要創作環結進行分析；最後，以研究者長期實踐、體驗、觀察之發現，以及對創作者進行深度訪談所得之田野調查資料，解析奇巧劇團「新戲曲」的創作風格及美學特徵，並給予未來發展之建議。.
Since the 1980s, the development of modernization of xiqu in Taiwan was flourishing, and it has developed in different kinds of directions in the 21st century. Under this trend, Chi-Chiao Musical Theatre has hence founded in 2004. The core value of Chi-Chao is to merge various genre of drama by crossing different styles of performances, different kinds of xiqu, and different music systems. In 2011, Chi-Chiao Musical Theatre presented a production, Who’s the Boss, which used multiple patterns of performing style. This unique play attracted people’s attention right away and thus showed a different xiqu appearance, and was referred to “new xiqu in Taiwan" by a scholar. In the past eleven years, Chi-Chiao Musical Theatre has produced over more than 10 plays. Under the “new xiqu” performing style, Chi-Chao’s works could be summarized in three characteristics: 1.There were two or more tunes of xiqu in these plays; 2.These plays mixed both xiqu and popular music. 3.Performing methods contained xiqu exercises as well as modern realistic acting. Since the theatre elements and techniques in ChiChiao’s works contain xiqu, modern drama, and modern music, this “new xiqu” style could not be categorized in any kind of xiqu. However, is this new form of xiqu considered as a pieced collage? Or a new developing path for the modernization of xiqu a in Taiwan? In all sorts of attempts, what kind of "new xiqu " landscape will be created by Chi-Chiao Musical Theatre? These are the important questions that would be discussed in the thesis. In this thesis, firstly, it detailed recorded the history, plays, and operating direction of Chi-Chiao Musical Theatre by sorting out the huge amount of first-hand interview information. Secondly, it described the style of the “new xiqu” style by analyzing relevant xiqu articles. Thirdly, it analyzed the text, music, and performances by comparing the following three plays: Who’s the Boss, The Pol
出版者: 碩士論文--國立臺南大學戲劇創作與應用學系碩士班, 104學年度
建立日期: 民104 [2015]
格式: vii,133面 : 圖 ; 30公分..
語言: 中文
資源來源: NUTN ALEPH

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新戲曲之路 : 奇巧劇團創作風格研究 = A Path of New Xiqu : The Style of ChiChiao Musical Theatre

劉建華國立臺南大學戲劇創作與應用學系碩士班民104 [2015]

正在檢索遠程資料庫，請稍等

新戲曲之路 : 奇巧劇團創作風格研究 = A Path of New Xiqu : The Style of ChiChiao Musical Theatre

劉建華 國立臺南大學 戲劇創作與應用學系碩士班 民104 [2015]

正在檢索遠程資料庫，請稍等

劉建華國立臺南大學戲劇創作與應用學系碩士班民104 [2015]