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題名：扭曲或是超越莎士比亞：台灣莎劇改編之研究 (1986-2004)
作者：陳瑞松
作者(外文)：Chen, Jui-sung
校院名稱：國立中正大學
系所名稱：外國語文研究所
指導教授：石光生
陳月妙
學位類別：博士
出版日期：2011
主題關鍵詞：跨文化主義；莎士比亞；莎劇改編；台灣現代戲劇；屏風表演班；當代傳奇劇場；台南人劇團；Interculturalism；Shakespeare；Shakespearean adaptations；modern Taiwanese theatre；Ping Fong Acting Troupe；Contemporary Legend Theatre；Tainan Jen Theatre
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1980年代，台灣劇場興起莎劇改編的風潮，許多台灣劇團的導演以話劇、京劇或歌舞劇的方式來改編莎士比亞的劇作，為了探究此一台灣現代戲劇中的跨文化展演，本論文針對台灣劇場中莎劇改編的現象來做探討，並選取屏風表演班的《莎姆雷特》、當代傳奇劇場的《慾望城國》、《李爾在此》，及台南人劇團的《女巫奏鳴曲-馬克白詩篇》、《莎士比亞不插電I-羅密歐與茱麗葉》等五部莎劇改編的作品，並以三個方向:一、探討戲劇中的跨文化理論，二、了解台灣現代戲劇中跨文化表演發展的脈絡，三、分析當代台灣莎劇改編情形，來檢視1986年到2004年間，台灣劇場中莎士比亞戲劇改編的相關議題。
本論文共分為七部份，包含序論、本體五章及結論。所採用的研究方法主要為跨文化理論，及台灣劇場發展的文獻回顧，採東西並濟的方式對選取的莎劇改編做評論與解析。序論簡介西方跨文化理論家及各家理論，勾勒各章的佈署，以及對所選出的三個台灣劇團的五部莎劇改編做整理，並冀望藉由本論文的研究，來探究1986年到2004年台灣現代戲劇中莎劇改編現象是扭曲，還是超越莎士比亞。第一章為「戲劇中的跨文化主義」，旨在呈現各學派對戲劇中的跨文化理論的定義及其發展概況，藉由了解戲劇中的跨文化理論，進而探討以後各章節的跨文化議題。第二章為「台灣現代戲劇中跨文化展演的發展」，針對從1920年代起到現代的台灣劇場發展史做回顧與整理，並探究跨文化展演在台灣現代劇場發展的成因。第三章「屏風表演班《莎姆雷特》中的跨文化詮釋」，探究李國修在該劇所要影射的議題，進而勾勒出該劇的跨文化詮釋的意義。第四章則選取當代傳奇劇場的《慾望城國》及《李爾在此》來重新檢視吳興國對莎劇改編的貢獻。第五章則是著重在台灣南部社區劇場所衍生出的跨文化現象，並選取台南人劇團作為研究目標，並檢視其莎劇改編《女巫奏鳴曲—馬克白詩篇》及《莎士比亞不插電I—羅密歐與茱麗葉》，進而評論呂柏伸以詩化台語或中文來編導莎士比亞戲劇並非成功之舉。經由以上各章節的探討之後，本論文的結論則是論證台灣1986年到2004年的莎劇改編並非超越莎士比亞的上乘之作，而是扭曲莎劇的原意及文字的展演。
During the 1980s, the phenomenon of Shakespeare adaptations became popular in modern Taiwanese theatre, and many Taiwanese theatre artists devoted themselves to adapting Shakespeare’s plays in the forms of spoken drama, Peking Opera, or musicals. In order to unearth the intercultural interpretations embedded in these Shakespeare productions in Taiwan from 1986 to 2004, this dissertation selects Ping Fong Acting Troupe’s Shamlet, the Contemporary Legend Theatre’s The Kingdom of Desire and King Lear, and Tainan Jen Theatre’s The Witch Sonata—Psalm of Macbeth and Shakespeare Unplugged I—Romeo and Juliet and explores the related issues in three aspects: 1) the understanding of interculturalism in theatre studies, 2) the review of the socio-historical context of intercultural performances in Taiwan, and 3) the case studies of Shakespearean adaptations.
Structurally, this dissertation is divided into seven parts: an introduction, five chapters, and a conclusion. The introduction summarizes the chosen Shakespearean adaptations and attempts to explore the issues of Shakespearean adaptations that are dealt with in modern Taiwanese theatre. Chapter One attempts to introduce various schools of intercultural theories and displays interculturalism in theatre studies that has developed since the 1980s. Chapter Two tries to sketch out the socio-historical context of modern Taiwanese theatre that has developed since the 1920s, and this chapter is served as background knowledge to understand the phenomenon of Shakespearean adaptations from 1986 to 2004. Chapter Three explores the intercultural interpretation of Ping Fong Acting Troupe’s Shamlet and aims at uncovering Lee’s implications and attitudes towards the phenomenon of Shakespeare appropriations in Taiwanese theatre. Chapter Four discusses the issues of Shakespearean adaptations in Peking Opera in Taiwan. Taking the Contemporary Legend Theatre’s The Kingdom of Desire and King Lear as examples, I propose to evaluate Wu Hsing-kuo’s artistic contributions to Shakespearean adaptations in modern Taiwanese theatre. Chapter Five examines Shakespearean adaptations staged by a non-Taipei theatre troupe, Tainan Jen Theatre. By analyzing Tainan Jen Theatre’s The Witch Sonata—Psalm of Macbeth and Shakespeare Unplugged I—Romeo and Juliet, I propose to evaluate that Lu Po-shen’s linguistic experiments on Shakespeare’s plays in poetic tai-yu or Mandarin Chinese are not successful. Lastly, the conclusion argues that these chosen plays do not transcend but distort Shakespeare’s spirit or verses from 1986 to 2004 in Taiwan.
Bibliography

A. PRIMARY RESOURCES: TEXTS

English Resources

Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. The Riverside Shakespeare. 2nd ed. Ed. Blakemore Evans. Boston: Houghton Mifflin Company, 1997. 1183-1245.
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Chinese Resources

Lee, Kuo-hsiu 李國修. Shamlet (莎姆雷特). Taipei: INK Publisher, 2006.
The Witch Sonata—Psalm of Macbeth (女巫奏鳴曲---馬克白詩篇). By William Shakespeare. Dir. Po-shen Lu. Trans. Chou Ting-pang. Perf. Ling-ling Shen沈玲玲, Yi-lin Huang黃怡琳, Ying-ni Ma馬英妮, Chieh-hua Hsieh謝杰樺, Hung-chin Huang黃弘欽. Tainan Jen Theatre, Tainan, 2003.
Romeo and Juliet. By William Shakespeare. Trans. Fang Ping 方平. Taipei: Ecus Publishing, 2001.
Shakespeare Unplugged I—Romeo and Juliet(莎士比亞不插電---羅密歐與茱麗葉). By William Shakespeare. Dir. Po-shen Lu. Trans. Fang Ping. Perf. Tzu-yang Chu朱子揚, Po-fu Wu吳柏甫, Po-chang Sung宋柏璋, Chu-hsuan Chang張筑軒, and Chia-chen Wei魏家禎. Tainan Jen Theatre, Tainan, 2004.
Wu, Hsing-kuo 吳興國. The Kingdom of Desire (慾望城國). Taipei: International Studio of Frankfurt, 2000.
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---. “The Empty Space: the Study of Peter Brook’s The Tragedy of Hamlet and Lu Po-shen’s Hamlet (空的空間: 彼得•布魯克的〈哈姆雷特的悲劇〉與呂柏伸的〈哈姆雷〉的研究).” Journal of Chinese Literature of National Cheng Kung University 23 (2008): 123-156.
Lin, Cheng-jung 林呈蓉. Huang min hua she hui te shih tai (皇民化社會的時代). Taipei: Taiwan Shu Fang Publisher, 2010.new window
Lin, He-yi and Chi Wei-jan, eds. 林鶴宜、紀蔚然. Chung sheng hsuan hua chih hou: Taiwan hsien tai hsi ju lun wen chi (眾聲喧譁之後:台灣現代戲劇論集). Taipei: Bookman, 2008.
Lin, Hsing-hui 林幸慧. The Development of Peking Opera vs. the Art of the Operatic Schools (京劇發展vs. 流派藝術). Taipei: Le Jin Books LTD, 2004.
Lin, Ke-huan 林克歡. Theatre in Consumer Society(消費時代的戲劇). Taipei: Bookman, 2007.new window
Lin, Po-wei 林柏維. Taiwan wen hua hsieh hui tsang sang (台灣文化協會滄桑). Taipei: Tai Yuan Publisher, 1999.
Lin, Wei-yu 林偉瑜. Tang tai Taiwan she chu ju chang (當代台灣社區劇場). Taipei: Chih Yang Wen Hua, 2000.
---. “Ju chang hsin huo ju he hsiang chuan?(劇場薪火如何相傳?).” Performing Arts Review(表演藝術)Mar. 1999: 86-92.
Lin, Ying-chih 林盈志. Contemporary Metatheatre in Taiwan (當代台灣後設劇場研究). MA thesis. National Cheng Kung University, 2002.
Liu, Hui 劉慧. “Tainan hsiao ju chang te hsin le yuan—tan ’95 hua deng yi shu chieh (台南小劇場的新樂園—談95華燈藝術節).” Performing Arts Review(表演藝術)Jun. 1995: 14-17.
Lu, Chien-ying 盧健英. The Contemporary Legend of Wu Hsing-kuo (絕境萌芽:吳興國的當代傳奇). Taipei: Commonwealth Publishing Group, 2006.
Lu, Po-shen 呂柏伸. “Kua wen hua hsi ju chuang tso te chi tien hsiang fa—hsieh tsai yu sha ju (Bond) yen chu chih chien (跨文化戲劇創作的幾點想法—寫在豫莎劇(約/束)演出之前).” Theatre Matters 8 (劇場事 8). Tainan: Tainan Jen Theatre, 2010. 68-70.
Lu, Po-shen and Lan Chien-hung 呂柏伸、藍劍虹. “Jang kuan chung hsiang hsin ni yu chua tao hu tieh—Lu Po-shen chuan fang (讓觀眾相信你有抓到蝴蝶—呂柏伸專訪).” Theatre Matter 2 (劇場事2). Tainan: Tainan Jen theatre, 2006. 91-100.
Lu, Su-shang 呂訴上. A History of Cinema and Drama in Taiwan (台灣電影戲劇史). Taipei: Yin-hua Publishing, 1961.
Ma, Sen馬森. “Feng huang hua kai feng huang cheng(鳳凰花開鳳凰城).” Performing Arts Review(表演藝術)Dec. 1997: 70-72.
---. Hsi chao hsia te chung kuo hsian tei hsi ju (西潮下的中國現代戲劇). Taipei: Bookman, 1994.
---. Taiwan Modern Drama: from Modernism to Postmodernism (台灣戲劇: 從現代到後現代). College of Humanities and Social Sciences of Fo Guang University: 2002.
---. Twice Impacts upon Chinese Modern Drama from the West(中國現代戲劇的兩度西潮). Taipei: Unitas, 2006.
Ma, Shao-po 馬少波. Chung kuo ching ju shih (中國京劇史). Beijing: Chung Kuo Hsi Ju, 1990.
Shen, Ling-ling 沈玲玲. The Research on the Administration and Development of Tainan Jen Theatre and the Criticism of its Works: 1987-2004(台南人劇團經營、發展與作品評析之研究：1987-2004). MA thesis. National Cheng Kung University, 2004.
Shih, Kuang-sheng 石光生. Intercultural Theatre: Diffusion and Interpretation(跨文化劇場：傳播與詮釋). Taipei: Bookman, 2008.new window
---. “An Intercultural Interpretation of Contemporary Legend Theatre’s Medea (論〈樓蘭女〉的跨文化詮釋).” Theatre Matters 8 (劇場事 8). Tainan: Tainan Jen Theatre, 2010. 9-27.
Tian, Chi-yuan 田啟元. “An Open Letter for Theatre Colleagues(給劇場同志的一封公開信).” Performing Arts Review(表演藝術)Feb. 1996: 88-89.
Tseng, Hsien-chang 曾顯彰. Chang Wei-hsian (張維賢). Taipei: Council for Cultural Affairs, 2003.
Tuan, Iris Hsin-chun 段馨君. Gazing upon Taiwan Contemporary Theatre: Feminist Theatre, Intercultural Theatre and Performance Workshop(凝視台灣當代劇場: 女性劇場、跨文化劇場與表演工作坊). Taipei: Airiti Press Inc., 2010.
---. Intercultural Theatre: Adaptation and Representation(跨文化劇場: 改編與再現). National Chiao Tung University Press, 2009.
Wang, An-chi 王安祈. Chuan tung hsi chu te hsian tai piao hsian (傳統戲曲的現代表現). Taipei: Le Jin BKS, 1994.new window
Wang, Chun-Mei 王淳美. On the Collection of Chinese Spoken-Drama in the First Half Period of Martial Laws in Taiwan (台灣戒嚴前期的(中華戲劇集)研究). Ph.D. Diss. National Chung Kung University, 2004.
Wang, Wan-jung 王婉容. “Sha shih pi ya yu Taiwan tang tai ju chang te tui hua (莎士比亞與台灣當代劇場的對話).” Chung Wai Literary Monthly(中外文學)28.2 (1999): 140-48.new window
Wen, Chiu-ju 溫秋菊. “Chin pai nien lai Taiwan ping ju fa chan kai shu (近百來台灣平劇發展概述).” Taiwan ping ju fa chan chih yen chiu (台灣平劇發展之研究). Taipei: Shiue yi Publisher, 1994. 215-21.
Wu, Chiuan-cheng ed. 吳全成. Taiwan hsien tai ju chang yen tao hui lun wen chi (1986-1995: Taiwan hsiao ju chang) (台灣現代劇場研討會論文集(1986-1995台灣小劇場)). Taipei: CCA, 1996.
Wu, Hsing-kuo and Lin Hsiu-wei 吳興國、林秀偉. The Kingdom of Desire. Taipei: Heliopolis Culture Group, 2010.
Wu, Hsing-kuo 吳興國. “Lyrics of Wu Hsing-kuo’s King Lear (李爾在此).” Solo: Experimenting Traditional Chinese Operas (獨當一面). Taipei: The Contemporary Legend Theatre, 2004. 17-23.
---. “Tsung chuan tung tsou ju sa weng shih chieh (從傳統走入莎翁世界).” Chung-Wai Literary Monthly (中外文學). Taiwan University Press, 1987. 50-51.
Yang, Tu 楊渡. Jir ju shih chi Taiwan hsin ju yun tung: 1923-1936 (日據時期台灣新劇運動:1923-1936). Taipei: Reading Times, 1994.

Internet Resources

Academic Network of Yao Yi-wei. 28 February 2011
< http://yaoyiwei.tnua.edu.tw/year/index.html>
An Introduction to Tainan Jen Theatre. Tainan Jen Theatre. 8 April 2010 .
Bartholomew, Ian. “Tainan Jen gets Macbeth Talking.” Taipei Time. 23 May 2003
Chang, Wen-lung 張文龍. Rev. of The Witch Sonata—Psalm of Macbeth (〈女巫奏鳴曲－馬克白詩篇〉觀後評價). 26 March 2010 .
Contemporary Legend Theatre. Contemporary Legend Theatre. 21 July 2010 .
Cyberstage Taiwan. 28 February 2011 < http://www.cyberstage.com.tw/english/>.
Liu, Hsueh-chen 劉雪珍. Rev. of The Witch Sonata—Psalm of Macbeth (〈女巫奏鳴曲－馬克白詩篇〉觀後評價). 26 March 2010 .
Liu, Yu-hsiu 劉毓秀. Rev. of Antigone—See Ancient Greek Tragedy in Koxinga Shire (〈安蒂岡妮〉劇評─到延平郡王祠看古希臘悲劇). 25 March 2010 .
Lu, Chien-chung 呂健忠. Rev. of Antigone—Greek Tragedy V.S. Taiwanese Pathos: Afterthought of Tainan Jen’s Bird and Antigone (〈安蒂岡妮〉劇評─希臘悲劇台灣情:〈鳥〉與〈安蒂岡妮〉觀後感). 25 March 2010 .
Ninagawa Studio. 1 October 2010 .
Suzuki Tadashi—Suzuki Company of Toga. 1 October 2010
.
Yang, Wan-yi 楊婉怡. “Rev. of Tainan Jen’s The Witch Sonata—Psalm of Macbeth (獨立於莎翁經典光環之外: 評台南人劇團〈女巫奏鳴曲─馬克白詩篇〉).” Performing Arts Review(表演藝術). 22 May 2003 .
Yukio Ninagawa. 1 October 2010 .

Film Recording

King Lear (李爾在此). Dir. Wu Hsing-kuo. Perf. Wu Hsing-kuo. 2006. DVD. Contemporary Legend Theatre, 2006.
The Kingdom of Desire (慾望城國). Dir. Wu Hsing-kuo. Perf. Wu Hsing-kuo and Wei Hai-min 魏海敏. 1996. DVD. The Contemporary Legend Theatre, 2005.
The Tempest (暴風雨). Dir. Tsui Hark 徐克. Perf. Wu Hsing-kuo. 2004. DVD. The Contemporary Legend Theatre, 2009.
“The Throne of Blood(蜘蛛巢城).” Dian ying da shr (1): Kurosawa Akira (電影大師(1): 黑澤明). Dir. Kurosawa Akira. Perf. Mifune Toshiro 三船敏郎. 1957. DVD. Taipei: Shin he ming, 2009.

Production Program

Lee, Kuo-hsiu 李國修. Apocalypse of Beijing Opera (京劇啟示錄). The production program. Taipei: Ping Fong Acting Troupe, 2007.
---. The Half-Mile Great Wall (半里長城). The production program. Taipei: Ping Fong Acting Troupe, 2007.
---. Shamlet (莎姆雷特). The production program. Taipei: Ping Fong Acting Troupe, 2006.
Lu, Po-shen. Shakespeare Unplugged I—Romeo and Juliet (莎士比亞不插電I: 羅密歐與朱麗葉). The production program. Tainan: Tainan Jen Theatre, 2004.
Wu, Hsing-kuo. The National Chiang Kai-shek Cultural Centre. King Lear (李爾在此). The production program. Taipei: The Contemporary Legend Theatre, 2001.
---. The National Chiang Kai-shek Cultural Centre. The Kingdom of Desire (慾望城國). The production program. Taipei: The Contemporary Legend Theatre, 2006.

 
 
 
 
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