從歌劇到歌舞劇的表演轉換－以北藝大《費加洛婚禮》演出為例

《費加洛婚禮》歌舞劇演出成功主要原因為題材選自歌劇，並運用空間、身段、服裝、舞台燈光呈現音樂，最後再以戲劇動作帶領各藝術部門。觀眾一方面可以聆聽經由現代樂器改編的古典樂曲，更可從視覺上（例如演員身段、服裝、舞台、燈光）得到滿足，而與歌劇最大不同點為甚麼呢？那就是歌劇是以音樂作為主要表現元素，歌舞劇則以戲劇為主。近年來台灣歌舞劇的作品，歸納出綠光與果陀劇場等創作方式，多是藉由媒介相互滲透融合來作為呈現；多重詮釋與多樣化藝術表現似乎是歌舞劇的未來趨勢；在經歷許多轉換與創新的演出中，台灣歌舞劇也已有其文化主體性；值得注意的是，當歌舞劇走向通俗化的同時也易流於鄙俗，倘若僅看重戲的流俗性，一昧迎合感官趣味，卻忽略帶給觀眾真正的感動與精神昇華，此時歌舞劇就淪為娛樂消遣了。博瑪榭的劇作帶出社會革命之能量；莫札特後創作出的歌劇，不僅推動歌劇在演唱藝術上的發展，更使義大利歌劇走向通俗化；梁志民執導出的台灣歌舞劇《費加洛婚禮》，以自身20年歌舞劇導戲經驗，與北藝大師生一同創作演出，未來還有繼續發展的可能。

關鍵字

歌舞劇；歌劇；梁志民；莫札特；費加洛婚禮

並列摘要

Opera has a history longer than that of musical. With the change of time, the number of musical goers has surpassed that of the opera goers in terms of age bracket and therefore a great number of classical operas have undergone some transformation and are presented in the form of a musical. In the opera the Marriage of Figaro produced by TNUA, the director adapted it into a musical and I would like to use this as an example to take a closer look into the transformation of performance delivered from an opera to a musical. The Marriage of Figaro was originally written by a French playwright Pierre Beaumarchais (1732-1799) and the theatrical play was subsequently adapted into an opera by Wolfgang Amadeus Mozart and poet Lorenzo da Ponte. The opera was performed in Italian. Taiwanese director Liang Chi-Ming later adapted it into a musical. In the first chapter, the opera’s background, the outline of the plot and the analysis of the play will be explained. In the second part of the thesis, I will go on to provide, one after another, an analysis of the performance space, body movements, voice and speech acts put alongside the original version in an attempt to point out the difference between the two. Lastly, director, actors and performance designers and audience’s thoughts will be presented in order to clarify their interpretations and inspirations of the play which lead to the characteristics of an opera transforming to a musical play.