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  • 學位論文

河出伏流:解嚴前發聲的1980年代實驗劇展

Flowing Streams: The Vocalization of the 1980's Experimental Theatre Festival Before the Lifting of Martial Law

指導教授 : 徐亞湘
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摘要


臺灣當代戲劇的小劇場發展,可溯至1980年開始連續五年舉辦的實驗劇展,彼時策展單位為姚一葦以及趙琦彬所主持的「中國話劇欣賞演出委員會」,包含興辦理念與策劃者相同的1985年鑼聲定目劇場,六年來演出作品共累積43部之多,且幾乎為原創作品。此劇展最主要的目標是希冀找出與當時話劇不一樣的演出形式,並且振興舞臺劇、找回劇場觀眾。 1970至1980年代間,臺灣社會文化正面臨著分別自國內、外而來的衝擊。從政治、外交所引發的臺灣地位危機,到鄉土文學論戰興起,亦在不同層面影響當時的藝文生態,戲劇對於當時社會的直接反映,直到解嚴後才發酵於1980年代後期的前衛小劇場運動。屬於緩衝期的實驗劇展,即使每一屆演出作品的創作目的和方式都不一,也僅有少數作品的藝術成就在戲劇史上獲得正面評價,但他們都匯集了對前一個世代藝術與戲劇的不滿足。 本文搜羅了當時展演相關史料,並探討實驗劇展與社會發展的關聯、實驗劇展所具備的開創性,以及無法突破的侷限,給予其完整的評價,填補臺灣小劇場歷史脈絡一隅。

並列摘要


The development of contemporary Taiwanese theatre can be traced to the successive five years Experimental Theatre Festival in 1980. At that time, the leading congress, conducted by Yao and Chao, followed the same concept of the memorial theatre festival for Li Man-Gui in 1985. It accumulated 43 pieces of works in a 6-year period and almost all of them were originally composed. The theatre aimed to figure out neo-performing methods to revive the stage performances and bring back audience. In 1970s and 1980s, Taiwan had confronted impacts both inside and outside the country. From the political and diplomatic dilemma to local literature debate, art environment was affected deeply. Theatres in that time did not have direct link with the society until the emerging of avent-garde theatre movement in late 1980s, the end of martial law. Experimental theatre in this gap, even though those pieces all spoke in their own tongues, and only a tiny number of them were considered successful in art field, they all represent the dissatisfaction in arts and drama to the previous generation. This dissertation concludes all associated theatre material of that period, and aims to discuss the connection between Experimental Theatre and the development of society. Furthermore, through assessing the innovative and limit those plays comprised thoroughly, it tries to intact this part of Taiwanese history in theatre.

參考文獻


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