《李爾在此》一人分飾十角,運用不同行當、流派的傳統功法,不追求某個流派唱腔,某個動作要像誰,不走向公式化, 不變得概念化,而是通過「行當」和流派的手段, 創造舞臺色彩鮮明濃烈的人物形象。《慾望城國》中吳興國的做表更為誇大,肢體律動更自由,跳脫京劇程式化的框架,有別於傳統戲曲表演。當代傳奇劇場三十而立之年推出的《仲夏夜之夢》, 則在聲音和服裝上有較大程度的跨界。演藝際線跨戲曲、現代舞、 影視的吳興國,如何轉化傳統戲曲表演藝術,融合西方表演訓練, 重塑表演、身體、聲音,從「程式化」表演出發,思考「 化程式」的技巧與原理都是本論文鑽研目標。 論文以《李爾在此》表演研究為中心,同時透過同樣是由吳興國編、 導、演的《慾望城國》及《仲夏夜之夢》作為研究的補充材料。後兩者借大量第一手訪談之分析研究,以期深入了解吳興國本人的創作發想、創作的心理狀態歷程,以及跨界創作的身心衝突。
"Lear in this" one sub-ten angle, the use of different acts, genre of traditional exercises, not the pursuit of a genre singing, an action like who, not to the formula, not become conceptualized, but through the "line "And the means of genre, creating a distinctive color of the stage image. "Wonderland City" Wu Xingguo's table is more exaggerated, the rhythm of the body more freedom, jump off the Beijing-style programming framework, different from the traditional opera performance. Contemporary legend theater thirty years of the launch of the "Midsummer Night's Dream", in the sound and clothing have a greater degree of cross-border. How to transform the traditional opera performance art, integrate western performance training, reshape performance, body, sound, from the "stylized" performance, thinking about the "craft" skills and principles Are the objectives of this paper. The paper is centered on the research of "Lear in this", and it is also a supplement to the study of the "Dream City" and "Midsummer Night's Dream" by Wu Xingguo. The latter two by a large number of first-hand interviews of the study, with a view to in-depth understanding of Wu Xingguo's own creative thoughts, creative state of mind, as well as cross-border creation of physical and mental conflict.