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  • 學位論文

《天生冤家》:美籍演員演台籍戲

The Odd Couple: An American Actor Performing a Taiwanese Play

指導教授 : 林國源
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摘要


本 篇《天生冤家》表演創作報告共有五章,第一章:「美國經典喜劇劇本能在台灣演出成功嗎?」說明這齣戲的製作人如何決定合作及演出此劇本。第二章:「劇本翻譯、改編及分析」是關於排練之前處理劇本過程。第三章:「角色分析」利用問答方式分析菲菲的角色。第四章:「從排練場到舞台」討論排練時遇到的角色發展及困難。第五章:「演出心得和檢討」將整個演出過程做全盤檢討及演出心得感想。對筆者而言不只是本篇報告,其實創造以台灣為場景的中文女性版《天生冤家》的整個過程也是多年投入利用表演探索跨文化及跨語言的極致表現。在這過程當中,戲劇扮演著催化劑幫助所有的參與者,特別是筆者,它不只擴大表演能力的侷限,且擴大溝通能力的限制,對筆者而言,在我的人生中戲劇創造生命力,建立自信,且能夠讓我探索新世界,並可藉此探索自己的內在。戲劇給予所有人機會去了解人生,之後再將他們所獲得的知識傳達出去。

並列摘要


This report on the performance of The Odd Couple is made up of five chapters. The first chapter, “Can the Performance of a Classic American Comedy Succeed in Taiwan?”, explains the process the production team went through in deciding to work together as well as how the choice of script was made. The second chapter, “Script Translation, Adaptation and Analysis”, is about the process of script work done before rehearsals began. The third chapter, “Character Analysis”, uses a question and answer format to analyze the character of Felicia. The fourth chapter, “From the Rehearsal Room to the Stage”, discusses discoveries and difficulties encountered during the rehearsal process. The fifth chapter, “A Reflection On and Examination Of the Performance” is an overall review of the final performances as well as reflections on knowledge gained through the performance process. This thesis, indeed the entire process of creating a female, Chinese version of The Odd Couple for a Taiwan setting, is the culmination of many years invested in the exploration of cross-culture and cross-language work through performance. During this process, theatre acted as a catalyst to help all of those involved, and most especially this author, to broaden the limits not only of their performance skills, but also of their skills in communication. For me personally, theatre creates life, it builds confidence, and it allows an exploration of new worlds which in turn allows me to explore myself. Theatre gives people the opportunity to learn about humanity, and having then learned, to teach the knowledge they have gained.

參考文獻


13. Moritz, Charles et. al, editors . Current Biography Yearbook 1968. New York: The H. W. Wilson Company, 1968.
11. Marlin, Bella. Beyond Stanislavsky: the psycho-physical approach to actor training. London: Nick Hern Books, 2005.
15. Patterson, Michael. The Oxford Dictionary of Plays. Oxford: Oxford University Press, 2005.
1. 鄭雪來譯。《演員自我修養,第1部》。斯坦尼斯拉夫斯基著。北京:中國電影出版社,2000年,頁26。
2. 鄭雪來譯。《演員自我修養,第2部》。斯坦尼斯拉夫斯基著。北京:中國電影出版社,2000年,頁27。

被引用紀錄


謝和臻(2013)。演化,從任督二脈打通開始〔碩士論文,國立臺北藝術大學〕。華藝線上圖書館。https://doi.org/10.6835/TNUA.2013.00113

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