本研究計畫著重研究戲曲之本體——演劇，由相互關聯、相互支援的兩個子題組成。第一子題「論清代戲曲表演對戲曲文學之反撥作用」，以研討《琵琶記》之演出傳統為主幹，具體地探尋清代戲曲藝人對於戲曲文本的種種改動，從而認知當時戲曲表演對於戲曲文學的反撥作用。第二子題「探析新戲曲之『專業化分工』創作方式／『編導中心』」，將重點剖析新戲曲的兩大案例——「樣板戲」和「精品工程」，考察在西方強勢文化衝擊下，「專業化分工」創作方式／「編導中心」之產生、運用和操作，以及由此而引發的編劇和導演對表演制約作用之增強、戲曲演員創作空間之壓縮。總之，本研究計畫將從跨文化、跨領域的視野觀照中華戲曲，兩個子題分別研究傳統戲曲和新戲曲，形成對照和呼應，以更全面、深入地認知戲曲表演與戲曲文學之間的關係。 This research project will study indigenous Chinese theatre or xiqu (hsi-ch’?), focusing on its performance. The project will consist of two related parts that give mutual support. The first part of the project will explore the performance tradition of xiqu during the Qing dynasty (1644-1911), and investigate performers’ impact on the literary compounds of xiqu by analyzing a variety of performers’ alterations found in stage scripts of The Lute. The second part of the project will discuss “model revolutionary plays” in 1960s-1970s and the so called “national project to the distillation of the stage art” in this decade, two typical examples of a new kind of xiqu under the influence of Western theatre, in which various specialists such as the playwrights, directors, composers, choreographers, and performers join hands. The powerful impact of Western theatre on these two types of new xiqu plays shows vividly in the increasing authority of dramatic literature and directing arts, as well as drastic decrease of creative faculties and self-motivation on the part of the performers. To sum up, this research project will study xiqu in interdisciplinary methodology from the cross-cultural perspective, the two parts of which will deal with traditional xiqu and new xiqu respectively. Through the comparison of its two sub-studies, thus, the project will thoroughly explore the relationship between xiqu performance and xiqu literature in depth. 研究期間 : 9808 ~ 9907
