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| Title: | 戲曲跨界創新的反思 ─以梅蘭芳時裝作品中京劇與話劇的媒合嘗試為例 |
| Other Titles: | Peking Opera Straddling of Zones Reconsidering--The Peking Opera and the Modern Drama Intermediary Gathers the Attempt Take the Mei Lanfang Fashionable Clothing Work in as the Example |
| Authors: | 侯雲舒
Hou, Yun-shu |
| Contributors: | 中文系 |
| Keywords: | 京劇;梅蘭芳;時裝新戲;話劇;跨界
Peking opera;Mei Lanfang;Fashionable clothing modern Peking opera;Drama;Straddling of zones |
| Date: | 2011-12 |
| Issue Date: | 2013-12-27 14:29:53 (UTC+8) |
| Abstract: | 1914-1918是京劇大師梅蘭芳以「時裝」為主軸，開始創作一連串時裝新戲的關鍵時期，雖然這段時間相較於梅蘭芳整體的藝術演出生命而言是短暫的，但卻是提供他後來在創作屬於梅氏經典劇目的古裝新戲時，一個相當重要的實驗經驗及參考值。而我們若把時間向後推移到現今，對於傳統戲曲的跨界創新是近二十幾年來臺灣戲曲界的發展重點之一，舉凡跨文化、跨形式、跨劇種等等的不同嘗試，都有眾多新作品因而產生。本文意欲接合這一前一後兩個戲曲改變的重要時期，來觀察在時間的遷移下，在前仆後繼的不斷實驗中，現今所謂對傳統的創新與改變，與20世紀初梅蘭芳思考創新時，有無可以借鏡或提供反思之處，例如在藝術形式與內容間的搭配與融合，以及「跨界」所面臨到的本質相容性，都是戲曲跨界所必須面對最根本的問題。20世紀初期，是一個新舊形式交替、新舊世代交替的關鍵時刻，梅蘭芳做為此時期代表京劇表演藝術最重要的演員之一，他在面對內外在環境劇烈改變時的思考理路是什麼？本文所採取的觀察點有四：一、京劇質性轉變；二、京劇跨界接觸的環境；三、梅蘭芳由「京話合流」的現象中所得到的觸發；四、梅蘭芳在京劇與話劇跨界媒合的實際操作。藉由審視一代大師在面對新舊衝擊及交替時，所做出的種種努力與嘗試，相信對於反思21世紀戲曲跨界媒合的進程，當具有某種承先啟後的意義。
1914-1918 is Peking opera master Mei Lanfang take “the fashionable clothing” as the main axle, starts to create a succession of fashionable clothing modern play the crucial phase, although this period of time compares in the Mei Lanfang whole artistic performance life says is short, but was actually provides him afterwards belonged to Mei the classical play goal ancient costume modern play when the creation, a quite important experiment experiences and refers to the value. But we if backward passes the nowadays the time, regarding the Peking opera straddling of zones innovation is one of nearly twenty for several year Taiwan Peking opera development priorities, all Trans-Culture, cross form, cross kind of drama and so on different attempt, all has the multitudinous new works thus produces. This article cares for the important time which joins this tandem two dramas to change, observes under the time migration, in takes place of the fallen in unceasing experiment, nowadays so-called to traditional innovation and change, with the beginning of the 20th century Mei Lanfang pondered when innovation, whether there is can profit by observing others or provides place of the reconsidering, for example in the artistic form and content matching and the fusion, the essential compatibility which as well as “the straddling of zones” faces, all is the Peking opera straddling of zones must face the most basic question. The 20th century initial period, are a new old form, new old generation in turn critical moment, Mei Lanfang do in turn for this time represent one of Peking opera performing arts most important actors, what he in inside and outside which faces in the environment fierce change time ponder principle road is? This article adopts the viewpoint has four: First, Peking opera nature transformation; second, Peking opera straddling of zones contact environment; third, Mei Lanfang triggering which obtains by “the Peking opera and drama confluence” phenomenon in; fourth, Mei Lanfang the actual operation which gathers at the Peking opera and the modern drama straddling of zones intermediary. Because of carefully examines a generation of master when faces the new old impact and in turn, makes all sorts of endeavors and the attempt, believed regarding reconsiders the advancement which the 21st century Peking opera straddling of zones intermediary gathers, when has the significance which some kind inherits from the past and carries on for the future. |
| Relation: | 政大中文學報, 16, 201-230
Bulletin of the Department of Chinese Literature National Chengchi University, 16, 201-230 |
| Data Type: | article |
| Appears in Collections: | [政大中文學報 THCI Core] 期刊論文
[中國文學系] 期刊論文
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