- 學位論文
華語世界裡的當代契訶夫新詮（1990-2012」
Performances of Chekhov's Works in Chinese Language Areas from 1990 to 2012
摘要
21世紀前後十年間，在臺灣、中國和香港劇場出現一波不以教育為宗旨亦非重建契訶夫經典劇本的演出。本論文選擇四齣大劇場演出及三齣小劇場製作作為討論對象。大劇場演出分別是：中國林兆華導演的《三姐妹•等待戈多》（1998）及《櫻桃園》（2004）；臺灣賴聲川導演的《海鷗》（1990）和台南人劇團製作的《海鷗》（2012）。小劇場製作以中國楊申導演的《海鷗•海鷗》（2009）與童道明編劇的《我是海鷗》（2010）及香港演戲家族的《人盡•訶夫》（2001）為對象。林兆華導演的兩部作品舞台設計令人印象深刻，演員的表現平平，著重展現林兆華個人對契訶夫劇作的單一解讀。臺灣的兩齣《海鷗》不約而同地將時空改置，其一於1930年代的上海，其二是1930年代末日治時期的臺灣，以服飾、流行歌曲等建立濃厚的時代感，但真實的歷史背景付之闕如。楊申的《海鷗•海鷗》只保留《海鷗》原劇中三對男女情愛關係為情節，作家的職業改為劇作者兼劇評人，藉劇評人之口批判中國目前的戲劇演出和劇評問題；童道明編劇的《我是海鷗》是註解《海鷗》之作，旨在說明《海鷗》原劇的題旨與「海鷗」的象徵意義，並加入中國當前戲劇圈的現象；演戲家族的《人盡•訶夫》採集體即興創作，展現香港當代人的生活壓力、社會現象與問題。 本論文所欲討論的是：大劇場演出賦予契訶夫劇作新詮釋的意義為何；小劇場製作紛紛映照出當代生活、社會的現象與狀態。期從此兩種不同的詮釋途徑，思索契訶夫劇作在當代搬演的意義。
並列摘要
From 1990 to 2012, Chekhov's works which involved no purpose of education and re-established existed at the theatres of Taiwan, China, and Hong Kong.This research includes the analysis and discussion of Chekhov's seven performances, which contains Three Sisters & Waiting for Godot (1998) and The Cherry Orchard (2004) directed by Zhao-Hua Lin of China, The Seagull (1990) directed by Stan Lai of Taiwan, The Seagull (2012) staged by Tainaner Ensemble of Taiwan, Seagull & Seagull (2009) directed by Shen Yan of China, I Am a Seagull (2010) by a Chinese playwright Dao-Ming Tong, and Let’s Chek (2001) by The Actors’ Family of Hong Kong. Both the scenography of two performances by Zhao-Hua Lin are impressively outstanding although the acting of actors is relatively weak. Lin stressed on his interpretation of this Chekhov's play. Both The Seagull by Lai and Tainaner Ensemble coincidentally changed the time to 1930s. The location, however, was set in Shanghai by Lai and in Taiwan by Tainaner Ensemble. The applied costumes and popular tunes established the strong sense of the contemporary while the real historical backgrounds disappeared. Yang simply retained the plot of three couples' romances from the original The Seagull. Yan replaced the “writer” in the original plot with “a playwright as well as a critic”, which he utilized to criticize the contemporary theatre and reviews of play in Beijing. The purpose of Tong's playwright I Am a Seagull is his interpretation of Chekhov’s The Seagull. He intended to illustrate the symbol of “The Seagull” In addition, he added the phenomenon of contemporary theatre in Beijing. Let’s Chek by the Actors’ Family adopted group improvisation to reveal the stress of life, social problem, as well as social issues in modern Hong Kong. This thesis contains the discussion of the meaning for Chekov’s works which were interpreted by the other directors and connected with the modern society. The author hopes to gain an insight to the contemporary reproduction of Chekhov’s works in Chinese language areas.