- 會議論文
《繡襦夢》跨文化創作初探
A Preliminary Analysis of Cross-Cultural Creation "The Dream of an Embroidered Robe"
摘要
《繡襦夢》是國光劇團與橫濱能樂團共同打造出的跨文化作品，除了是文化交融的成果，也前所未有地產生了一種結合了崑劇、歌舞伎、操偶及能劇地謠的表演形式，日本的古典戲劇形式融入了本土的戲曲創作，並開展出另一種嶄新的表演可能。《繡襦夢》的創作成就，應屬跨文化劇場的一個重要案例，符合法國學者帕維斯（Patrice Pavis）所提出的跨文化劇場（Intercultural Theatre）理論。《繡襦夢》一劇的成就，驗證了跨文化理論如何在實務上成為可能，而《繡襦夢》劇本對於明代徐兗《繡襦記》結局的翻轉，在跨文化創作上也產生了巧妙的影響與效果。本文則分別從「劇本溯源」、「創作構思」、「劇場調度」三個環節進行分析，初步對《繡襦夢》的跨文化創作歷程進行探討。
並列摘要
"The Dream of an Embroidered Robe" is a Cross-Culture creation by GuoGuang Opera Company and Yokohama Noh Theater. It is not only an achievement of cultural fusion but also an unprecedented combination of new forms of performance, including Chinese Classical Kunqu Opera, Kabuki, puppeteer and jiutai in Noh with the integration of Japanese classical drama form into local opera creation, opening up a brand new possibility of performance. The achievement of "The Dream of an Embroidered Robe" is an important example for Intercultural Theatre, corresponding to a theory of Intercultural Theatre by French scholar Patrice Pavis. The success of "The Dream of an Embroidered Robe" verified the possibility of putting Cross-Culture Theory into practice. The script of "The Dream of an Embroidered Robe" is an overturn for the ending of "An Embroidered Robe Story" by Xu Yan in the Ming Dynasty, generating ingenious influences and effects on cross-culture creation. This paper is a preliminary analysis of the Cross-Cultural creation realized in "The Dream of an Embroidered Robe", especially focusing on three components: the origin of the script, the thought of creation, and the layout of theatre.