好萊塢與歌仔戲：以布萊克．史奈德（Blake Snyder）之電影編劇理論分析明華園《蓬萊大仙》劇本

《蓬萊大仙》一劇為明華園「八仙系列」之首部曲，於1987年「國家兩廳院」開幕時獲邀進入國家戲劇院演出，30餘年來於國內外演出不輟，不僅為明華園之代表作之一，亦可視為歌仔戲於20世紀現代化過程之經典劇目。《蓬萊大仙》以其劇本架構、情節鋪排，營造出色的戲劇節奏與氛圍，無論於室內劇場，或觀眾可自由來去的戶外表演場域，均深受歡迎。《蓬萊大仙》的魅力何在？本文以好萊塢知名電影編劇布萊克．史奈德（Blake Snyder）提出的編劇理論，對照《蓬萊大仙》之劇本結構，探討編劇如何透過戲劇結構持續吸引觀眾的注意力。並指出歌仔戲之通俗性與好萊塢電影之商業性，使其在編劇技巧上或有相通與相異之處。本文以《蓬萊大仙》為例，聚焦於情節轉折設計上的對比分析，提出初步的探討，提供學習歌仔戲劇本編創者一個分析方向與練習的方法。

關鍵字

歌仔戲；編劇理論；明華園戲劇團；蓬萊大仙；布萊克．史奈德

並列摘要

"Grand Immortal of PENGLAI" is the first part of Ming Hwa Yuan's "Eight Immortals Series". It was invited to perform at the National Theater & Concert Hall at the opening in 1987. It has performed continuously for more than 30 years. Not only for Ming Hwa Yuan, one of his masterpieces can also be regarded as a classic repertoire of Taiwanese opera in the modernization process of the 20th century. "Grand Immortal of PENGLAI", with its script structure and plot layout, creates an excellent drama rhythm and atmosphere. It is very popular whether it is in an indoor theater or an outdoor performance area where the audience can come and go freely. What is the charm of "Grand Immortal of PENGLAI"? Based on the screenwriting theory proposed by the famous Hollywood film screenwriter Blake Snyder, this article compares the script structure of "Grand Immortal of PENGLAI" to discuss how the screenwriter can continue to attract the attention of the audience through the drama structure. It also points out that the popularity of Taiwanese opera and the commerciality of Hollywood movies make it possible to have similarities and differences in screenwriting skills. This article takes "Grand Immortal of PENGLAI" as an example, focuses on the comparative analysis of plot turning design, proposes a preliminary discussion, and provides a analysis direction and practice method, hoping to provide future creators who are interested in Taiwanese opera playwrights as a reference.

並列關鍵字

Taiwanese opera ； Dramaturgy ； Ming Hwa Yuan ； Grand Immortal of PENGLAI ； Blake Snyder

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