《小王子》是由法國著名作家安東尼•德聖修伯理在1943年作品之一。而《小王子》舞台劇則是「鐘樓怪人」作曲家科香堤(Richard Cocciante)、「巴黎國立歌劇院」總監馬提諾帝(Jean-Louis Martinoty)監督製作以及巴黎時尚大師卡斯提巴傑克(Jean Charles de Castelbajac)擔綱服裝設計所呈現。在一次的機會下欣賞到來台演出的《小王子》舞台劇,雖然就兩廳院國家戲劇院巨大的舞台空間顯得單薄許多,但是創作者無疑地利用許多的視覺符號來傳達其目的,故希望藉由符號學理論-能指、所指來分析其劇中場景符號之運用。研究者將從于貝斯菲爾德認為劇場空間就是一個符號的概念以及法國考弗臧學者中演員身外的視覺符號9小道具、10布景、11照明這類分類方式來進行研究之範圍,分析《小王子》演出DVD場景視覺符號之使用。研究者試圖在演出DVD版本導演的詮釋方法,將文學文本轉換為演出本文時所使用大量的視覺符號,試圖來分析呈現出原著作文學家世界觀,另一方面呈現出《小王子》的場景視覺所運用之符號,進而了解場景的符號所展現的魔力力量。
The Little Prince is one of the works of the famous France author, Antoine de Saint-Exupèry (1900~1944), in 1943. The stage play of The Little Prince is presented by Richard Cocciante, the composer of Notre-Dame de Paris, supervised by Jean-Louis Martinoty, the director-general of THE WIENER STAATSBALLETT, and dress-designed by the fashionable master in Paris, Jean Charles de Castelbajac. I had a chance to appreciate the stage play of The Little Prince in Taiwan before. Although the stage play, in the comparison with the giant stage space of National Theater, seemed to be much thinner, the creators, undoubtedly, utilized many visual marks to express the intention. They hope to make analysis of the performance of the play scene with Semiology theory-Signifier and Signified.The researchers do the study by using the catalogs of Anne Ubersfeld's concept, considering the theater space as a mark, and the France scholar, Tadeusz Kowzan's concept, 9 stage properties. 10 stage settings and 11 lightings outside the actors, to analyze the performance of the scene visual marks manipulated in the DVD version of The Little Prince. The researchers, attempting to give a rendition of the DVD version director's interpretation, transfer literature text into plenty of visual signs used in the performance to try to analyze and present the original scholar's world view and, on the other hand, the signs used ill the stage play of The Little Prince in order to comprehend the magic power of the scene signs.