曲表演的跨界，嬗變？－西方劇場導演與京劇演員跨文化交流的觀察

自從西元1929年京劇名旦梅蘭芳走向西方世界後，京劇藝術寫意而抽象的表演形式，奠定了具東方代表性的表演美學與藝術價值。京劇經由梅蘭芳的文化輸出，同時開啓了西方文化輸入的過程，現今京劇現代化發展，種種以現代劇場爲指標的創作，給予京劇演員在跨出傳統的方向上，提供了許多新的觀念與表演技巧。京劇跨界的模式，在戲曲與劇場學者專家的許多論述下，多以西方題材的移植、現代劇場技術的運用、以及在表演形式的跨界上。本文針對臺灣不同的京劇團體所邀請的三位美國導演，環境劇場大師理查．謝喜納Richard Schechner、美國俄亥俄州邁阿密大學教授郝爾．布萊寧Howard Blanning、意象劇場大師羅伯．威爾森Robert Wilson在台灣執導的作品，依其各擅勝場的戲劇理念，對京劇演員進行的訓練與交流，來觀察京劇演員對傳統表演程式跨越的過程、雙方合作所得到的經驗與影響，以及西方導演創造出的跨文化景觀，所引起京劇表演美學觀點的轉變。

關鍵字

京劇；梅蘭芳；現代劇場；環境劇場；貧窮劇場；意象劇場；跨文化劇場；角色行當；四功五法；劇場美學

並列摘要

Since Mei Lan Fang, the female role in Jing Ju opera, became well-known in Western world, the presentational and abstract performing style of Jing Ju established the Eastern performing aesthetics and artistic value. Through the Jing Ju delivery by Mei Lan Fang, it opened the process of bringing in Western culture to East. Nowadays, in the development of Jing Ju modernization, several modern theatrical presentations provide lots of brand new concepts and performing skills for Jing Ju performers to stride across the tradition. The intercultural pattern of Jing Ju, in different essays by dramatic and theatrical experts, mostly are based on adaption of Western subjects, application of modern theatrical techniques, and acting styles. The contents of this thesis are focus on the discussion of the Cross-Culture of Performance. There are three American directors who were invited to Taiwan by different Jing Ju Troupes: Environmental Theatre Master-Richard Schechner; Professor of Miami University at Ohio State, USA-Howard Blanning; and Theatrical Imagery Master-Robert Wilson. Through observation of three directors' productions in Taiwan, upon their theatrical passion and training and the communication with Jing Ju performers, to discuss the intercultural process of Jing Ju performers' traditional performing style and to discuss the experience and the impact of directors and performers demonstration. Meanwhile, in three director's presentations, under their personal styles, performers presented intercultural acting manner that provides new vision and idea for Jing Ju from traditional pattern to the change of interpreting multicultural style. A great transition of traditional Jing Ju performance also has been observed through the impact of cross-culture presentation created by western directors.

並列關鍵字

Jing Ju ； Mei Lan Fang ； Modern Theatre ； Environmental Theatre ； Poor Theatre ； Theatrical Imagery ； Intercultural (Cross-Cultural) ； Character ； Four acting skills & five methods ； Aesthetics of Theatre

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