從「接受美學」觀點論林奕華的音樂劇──以《梁祝的繼承者們》為例

林奕華，部分媒體譽其為具有開創性，以及對現代人敏銳的觀察力反映出現代人社會、心理與思想的華文戲劇創作者。2014年，林奕華推出首部音樂劇《梁祝的繼承者們》，並將本劇標記為「rethink（再思考）音樂劇」，透過解構傳統《梁祝》改編成現代戲劇，試圖呈現不同於傳統的音樂劇。並嘗試在創作劇中十八首歌曲時，在歌詞創作上找尋新的音樂文法與形式。本文將針對林奕華的創作思惟，以接受美學（Receptional Aesthetic）的觀點，兼貫其在本劇所欲表達的創新意涵與手法，佐以創作者之論述、網路觀眾心得、時評、各方訪談資料與其他文獻，對比其相較於傳統音樂劇在形式與內容的改變，探討林奕華在本劇中所謂創新的形式、內容與觀眾理解間的落差。藉此檢視其創作理念的達成情況，進而提出建言，以期尋求台灣音樂劇更多的可能性。

關鍵字

林奕華；梁祝的繼承者們；接受美學；音樂劇；梁祝

並列摘要

Edward Lam, some media praise him as a pioneer, with his keen observation, creating many Chinese dramas to reflect the modern society, psychology and thought. In 2014, Edward Lam published the first musical Art School Musical (hereinafter referred to as "the play"), and marked the play as "rethink musicals". With the concept of the experimental nature, he adapted to the traditional the Butterfly Lovers, trying to create different from the traditional musicals and find different music grammar. The research will focus on Hans Robert Jauss' Receptional Aestchetic, and consistent with the adaptation and author Edward Lam's discussion about his creative thinking, the meaning intended to express in the play, audience interviews, audience experience and data reported, to compare to the so-called traditional musicals in the the change about the form and content, to inspect the gap between the innovation and change that Edward Lam tried to convey in the play and the understanding of the audience. To view of its musical experiment goals, and put forward some possible suggestions in order to seek more possibilities for Taiwanese musicals.

並列關鍵字

Edward Lam ； Art School Musical ； Receptional Aestchetic ； Musical ； Butterfly Lovers

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