- 學位論文
羅伯․威爾森與台灣跨文化劇場製作：《歐蘭朵》與《鄭和1433》
Robert Wilson’s Intercultural Collaboration with Taiwan:Orlando and 1433 The Grand Voyage
摘要
兩廳院自2009年至2010年，兩度邀請國際名導羅伯威爾森，與國光劇團及優人神鼓共同製作兩部跨文化旗艦製作：《歐蘭朵》與《鄭和1433》。參與的陣容可說空前，前者有京劇名伶魏海敏，後者則有歌仔戲名角唐美雲參與演出。台灣劇場界及藝文圈對兩齣跨文化製作都報以高度期待，除了對台灣有幸與大師合作感到驕傲，也期待威爾森帶領台灣跨文化劇場到達另一個藝術高度。只是，始料未及的是，這兩部跨文化製作演後卻引發許多跨文化爭議。各方正反意見不一，持正面態度認為跨文化劇場有助台灣跨出去，尋求創新突破可能；而批判者則認為，這種如兩廳院旗艦製作的跨文化模式：歐美劇場大師聯結本國劇團與資金浥注的生產分工，在許多方面並沒有顧及在地文化及藝術的脈絡，造成不均衡的文化流動及失衡的文化關係，是跨文化霸權的展現。然而，這樣簡單的「二元對立」論述卻不是研究跨文化劇場的最佳方法，無法更宏觀、全面地觀察跨文化劇場的本質及內涵。跨文化（創新）到文化霸權，如同光譜上兩個極端，不斷出在許多跨文化表演論述來回擺盪、滑動，端看各方參與者抱持的跨文化態度及意識形態。本文將以威爾森兩部台灣的跨文化劇場為例，探索這樣跨文化擺盪現象的事實，分析其中包含的因素及過程。透過深入剖析跨文化生產過程：從概念發想、排練到展演，本文將分析其中的跨文化流動及現象，並藉此對關於威爾森跨文化劇場的正反意見做一綜覽及辯證，以期提供未來一個看待跨文化劇場的另類觀點。
並列摘要
The Taiwan NCTH (National Theatre and Concert Hall) has invited Robert Wilson co-produce two intercultural flagship productions with Guoguang Opera Company and U Theatre: Orlando and 1433 The Grand Voyage from 2009 to 2010. The dream casting involves two traditional opera divas: Wei Hai-ming and Tang Mei-yun. The theatre and artistic circles alike have a great expectation toward the productions, hoping Wilson bring Taiwan’s intercultural theatre to a greater level. Unexpectedly, these two intercultural productions have caused controversial debates since the performance curtained. Opinions varied from one another. The intercultural theatre advocators think it’d help Taiwan crossover to the global arena, achieving prospective innovative breakthrough. The others however argue that such intercultural flagship production model, which incorporates Western European theatre “maestros”, local theatre companies and investment, doesn’t take the local cultural and artistic context into account. It therefore results in the imbalance cultural flow and relation, producing the intercultural hegemony. However, such “binary opposition” discourse is not the best way of intercultural theatre studies, since it couldn’t help us study the field in a macro perspective. The “intercultural innovative” and “the hegemony” are like two sides of the spectrum that keep sliding back and forth in many intercultural performance discourses, depending on the attitude and ideologies of the participants. This thesis explores such intercultural phenomenon, including its cause and process, by taking Wilson’s two intercultural theatre collaborations with Taiwan as examples. It aims to study its intercultural flow and effect via the in-depth analysis of the production process: from the conceiving phase, the rehearsal, to the stage performance. With these analyses, the study ultimately hopes to provide an overview and debate, presenting an alternative research perspective of the intercultural theatre studies.