吳岳霖。〈演員劇場的消解與重解：從魏海敏的表演藝術探究戲曲的「當代性」〉。《民俗曲藝》189 (2015.9): 157-215。
Wu
Yue-lin. “The Decline and
Re-interpretation of Performer-Oriented Theater: Remarks on the Contemporaneity
of Theater from Wei Haimin’s Art of Performance.” Journal of Chinese Ritual,
Theatre and Folklore 189 (2015.9): 157-215.
Abstract
「演員劇場」作為中國傳統戲曲的藝術特色，也就是演員表演藝術的發揮為戲劇重心，亦為觀賞重點。本文的問題意識，源於對「演員劇場」與「傳統戲曲」間看似確立的關係所進行的質疑，同時也針對西方戲劇觀念涉入的當代戲曲，探究「演員劇場」到底是消解，還是有當代詮釋的可能。因此，本文分為兩個部分：先從藝術沿革與名詞定義探究「演員劇場」的產生與消解；第二部分則試圖在此討論基礎上，以魏海敏的跨界表演及藝術本質作為對象，解讀戲曲的當代意義與進行演員劇場的重新解釋與建構。最後，本文所試圖推導的是「演員劇場」的兩種「解」：發展過程的消解、當代戲曲的重解。我認為「演員劇場」在當代，不再完全用以烘托演員，而是能夠與編劇、導演呼應戲曲的本質；在提升表演性、文學性的同時，與演員達到一種共存關係，這也使戲曲能夠繼續展演，並得以發揮其「當代性」。
The performer-oriented theater is
an artistic feature of Chinese traditional theater, in which actors’ art of
performance constitutes the gist of the play and the focal point of viewers’
attention. The thesis of this study derived from my query into the seemingly
fixed relationship between performer-oriented theater and traditional theater.
At the same time, I would like to investigate whether performer-oriented
theater, after the introduction of western theatrical concepts, is
disintegrating, or are there possibilities of contemporary reinterpretation.
Subsequently, this study proceeds in two directions. I first examine the art
history and definition of performer-oriented theater to describe its inception
and decline. On this basis, I analyze the artistic nature of Wei Haimin’s
boundary-crossing performances in order to elucidate meanings of contemporary
theater and the re-interpretation and construction of the performer-oriented
theater. Finally, the purpose of this study is to give an account of the
disintegration process of the performer-oriented theater and the reinterpretation
of modern theater.
The modern day “performer-oriented
theater,” in my opinion, no longer serves to highlight individual performers;
instead, it collaborates with playwrights and directors to bring out the very
substance of theater. While promoting performance and literariness, the
performer-oriented theater coexists with the performers, attaining a balanced
relation that enables the continuation of traditional theater and its
contemporaneity.
Also
in Journal of Chinese Ritual, Theatre and
Folklore:
丘慧瑩。〈京劇《金鎖記》對傳統戲曲的繼承與創新〉。《民俗曲藝》159 (2008.3): 171-204。
Chiu Hui-yin. “The Golden Cangue, Continuation and Innovation of Traditional
Chinese Opera.” Journal of Chinese
Ritual, Theatre and Folklore 159 (2008.3): 171-204.