四把椅子劇團「重寫經典計畫」–重寫策略研究 = The Rewriting Classics Project of 4 Chairs Theatre : A Study of Its Rewriting Strategies

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四把椅子劇團「重寫經典計畫」–重寫策略研究 = The Rewriting Classics Project of 4 Chairs Theatre : A Study of Its Rewriting Strategies
著者: 吳庭如
國立臺南大學戲劇創作與應用學系碩士班
主題: 重寫經典四把椅子劇團《全國最多賓士車的小鎮住著三姐妹（和她們的Brother）》《遙遠的東方有一群鬼》簡莉穎許哲彬; rewriting classics the 4 Chairs Theatre “Okay My Dear Sisters” “We are Ghosts” Chien Li-Ying Tora Hsu
描述: 台灣青年劇作家簡莉穎與四把椅子劇團為解決「在地劇場」搬演「他國經典作品」時，在翻譯、改編及搬演上的文化落差、語言與時空上的差異，藉由「劇作家重寫劇作家」重寫契訶夫《三姐妹》、易卜生《群鬼》，於2015年創作《全國最多賓士車的小鎮住著三姐妹（和她們的Brother）》、2017年創作《遙遠的東方有一群鬼》。本論文首章闡述研究的目的與動機，爬梳關於「重寫」的文獻，以平田織佐《演劇入門》之理論進行文本分析，並且整理研究者與編劇簡莉穎、導演許哲彬兩人的訪談內容，檢視「重寫」與「深度改編」的差異。第二章著重於重寫計畫的背景，探討四把椅子劇團在搬演西方文本的困境時，如何吸取國外製作經驗打造重寫計畫。第三章與第四章則針對四把椅子劇團重寫經典計畫的兩部作品，探索劇作家簡莉穎的「重寫」策略。整理出《全國最多賓士車的小鎮住著三姐妹（和她們的Brother）》的四個面向：「戲劇結構的重組」、「文本台詞的當代化」、「原著情節的在地化」、「原著精神的保留」。而《遙遠的東方有一群鬼》則打破原著戲劇結構，增加新的文學性描述，賦予經典作品「當代性」，及重寫作家的「創造性」。最後分析導演許哲彬對兩部重寫經典作品在舞台詮釋的思考及選擇。本論總結簡莉穎的重寫策略，在貼合或顛覆的複雜選擇下，不只保有經典作品核心，更有意識的展現個人書寫技巧；導演許哲彬以尊重文本領導劇場美學的舞台詮釋。兩位創作者使再創的經典作品在文本及搬演呈現上被賦予「當代性」及「創造性」的新視野與生命。
To resolve cultural gaps as well as language, spatial, and temporal differences encountered when local theaters translate, adopt, and perform classics of other countries, Chien Li-Ying, a young Taiwanese playwright, and the 4 Chairs Theatre initiated a project involving playwrights rewriting plays called the “Rewriting Classics Project.” Specifically, they rewrote Anton Chekhov’s “Three Sisters” and Henrik Ibsen’s “Ghosts.” In 2015, they created the play “Okay My Dear Sisters,” and in 2017, “We are Ghosts.” The first chapter of this thesis explains the research objectives and motivations. Literature about rewriting was organized. Theories in Hirada Oriza’s Introduction to Engeki were employed for textual analysis. In addition, the researcher of this study interviewed Chien and director Tora Hsu to examine the differences between rewrite and in-depth adaptation. The second chapter focuses on the background of the Rewriting Classics Project and discusses when the 4 Chairs Theatre encountered predicaments of performing western plays, how they absorbed the foreign production experiences to shape their rewriting project. Chapters three and four explore the rewriting strategies Chien employed in the two works in the Rewriting Classics Project of the 4 Chairs Theatre. From “Okay My Dear Sisters,” this study identified four aspects, namely restructuring the play, modernizing the dialogues in the text, localizing the plots in the original work, and retaining the spirit of the original work. As for “We are Ghosts,” this study discovered that it broke the drama structure of the original play and added new literary descriptions, providing the classic a sense of contemporariness and a sense of creativity of the rewriting playwright. Finally, this thesis analyzed Hsu’s thoughts and the choices she made in his stage interpretation of these two rewritten classics.
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.
建立日期: 2022[民111]
格式: 117面 : 圖,表 ; 30公分..
語言: 中文
資源來源: NUTN ALEPH

連結

四把椅子劇團「重寫經典計畫」–重寫策略研究 = The Rewriting Classics Project of 4 Chairs Theatre : A Study of Its Rewriting Strategies

吳庭如國立臺南大學戲劇創作與應用學系碩士班 2022[民111]

正在檢索遠程資料庫，請稍等

四把椅子劇團「重寫經典計畫」–重寫策略研究 = The Rewriting Classics Project of 4 Chairs Theatre : A Study of Its Rewriting Strategies

吳庭如 國立臺南大學 戲劇創作與應用學系碩士班 2022[民111]

正在檢索遠程資料庫，請稍等

吳庭如國立臺南大學戲劇創作與應用學系碩士班 2022[民111]