台湾当代庙宇剧场戏台体制与管理研究

发布时间：2018-01-24 22:58

本文关键词： 台湾庙宇戏台庙宇剧场表演舞台管理舞台技术　出处：《上海戏剧学院》2011年博士论文　论文类型：学位论文

【摘要】：本论文针对表演文化中,早期与台湾庶民娱乐关系最密切的庙宇戏台为主要研究范围,文中对中国传统戏台与剧场的起源认定,透过剧场艺术学的论述与笔者研究分析,进行新的解释与界定。以开拓两岸剧场研究的范畴,厚植庙宇戏台文化的文献资料,增进彼此生活态度上的了解为目的。本论文共分为五章,第一章序论,主要叙述本研究背景、方法、目的、意义、架构以及文献探讨与名词界定。在文献探讨部分,由于两岸本有共同的宗教与文化渊源,在历史推演、政治切割后,产生不同的研究方向,呈现出各异的文献数据,却有互补功能。大陆部分注重在宗教与庙宇建筑史及戏曲的共生关系,于传统固定式戏台已有大规模的纪录与研究,对台湾相关的社会历史与现况文献却相当不足,特别是近40年来台湾的庙宇建筑、戏台形制与表演内容。台湾部分则由于社会形态变迁快速,积极接受世界各国学术理论,且关注台湾本岛民间宗教与表演文化现象,在戏台各种形制论述上则资料极少。故本论文正好能补足大陆对台湾庙宇戏台的资料,也重新连接了台湾与大陆彼此的脐带关系。第二章台湾庙宇剧场的历史源流,以中国与台湾在历史上的关系为起始,下分三节,第一节旨在从中国庙宇与剧场的定义,重新审视各朝代庙宇剧场的状况,以及社会对庙宇演出的观感与影响为何。其次由传统的建筑观点与扮演观点二方面,叙述不同视角所形成戏台源起的异同,而在中国戏曲大戏表演成形时获得形式上的统一。最后提出台湾庙宇神明与中国一脉同源的历史,造成建筑戏台在形式上相同的论证。第三章台湾当代庙宇戏台分析为本论文之核心研究部分,以台湾庙宇戏台的起源为始点,提出原住民在庙宇戏台历史上的地位,并延伸至下一节台湾原生剧种歌仔戏与外来本土化的布袋戏,在民间对庙宇戏台的关系及地位。第三节以笔者归纳后划分出的固定式、临时式与流动式三种庙宇戏台样式为结论,定义这三种戏台目的与形式,同时将传统上对戏台与庙宇的各种形制,透过田野调查后比较分析,重新建立对台湾当代庙宇戏台的认知。第四章台湾庙宇剧场的戏台功能与管理,以上述三种类型戏台为基础,结合舞台与观众席成为剧场的界定,认为剧场会藉由种种外部手段,亦即所谓的舞台技术,进行或帮助演员与观众之间的信息交流、参与方式及人际知觉的沟通,展现三种戏台外部与意义上的功能解释。第二节戏台管理研究,则分别从台湾的专业剧场至民间庙宇戏台管理的现况,进行分类说明与田野调查后的分析,获得庙宇演剧形式,在演出管理方面有着认知与方式上的差异。第五章结论与建议,为对本论文是否达到目的之结语,并针对庙宇戏台、表演与演出与台湾剧场提出建议,期望能对台湾与大陆日后在研究戏台表演文化或是在制订政策时能有所帮助。
[Abstract]:This thesis focuses on the temple stage, which has the closest relationship with the Taiwanese common people in the early stage of performing culture. In this paper, the origin of the Chinese traditional stage and theater is identified. Through the discussion of theatrical art and the author's research and analysis, a new interpretation and definition is made in order to open up the scope of theatrical research on both sides of the Taiwan Strait and to enrich the literature and materials of temple stage culture. The goal is to improve understanding of each other's attitudes towards life. This paper is divided into five chapters, the first chapter preface, mainly describes the research background, method, purpose, significance, structure, literature discussion and noun definition. In the literature discussion part. Because the two sides of the Taiwan Strait have the same religious and cultural origin, after historical deduction and political cutting, different research directions have emerged, showing different literature and data. However, the mainland pays attention to the symbiotic relationship between religion and temple architecture history and opera, and has a large-scale record and research in the traditional fixed stage. However, the literature on the social history and current situation in Taiwan is quite insufficient, especially in the past 40 years, the temple architecture, the theatrical form and the performance content of Taiwan, while the part of Taiwan is due to the rapid changes of social formation. Active acceptance of academic theories from all over the world and concern about the phenomenon of folk religion and performing culture in Taiwan Island, there are very few materials on the discussion of various forms of the stage. Therefore, this paper can complement the mainland's information on Taiwan's temple stage. It also reconnects the umbilical cord relationship between Taiwan and the mainland. The second chapter begins with the historical relationship between China and Taiwan. It is divided into three sections. The first section aims to re-examine the situation of temples and theatres in different dynasties from the definition of Chinese temples and theatres. And what is the social perception and influence of temple performance. Secondly, from the traditional architectural point of view and play point of view, narrates the similarities and differences of the origin of the stage formed from different perspectives. In the end, the history of the origin of the temple deities in Taiwan and that of China is the same, which leads to the argument that the architectural stage is the same in form. The third chapter is the analysis of Taiwan's contemporary temple stage, which is the core of this thesis. The origin of Taiwan's temple stage is the starting point, and the status of the aborigines in the history of the temple stage is put forward. And extended to the next section of Taiwan's native opera opera and the foreign localization of the puppet play in the folk relations and status of the temple stage. The third section of the author summed up the classification of fixed. In the conclusion of temporary and mobile three types of temple stage, the purpose and form of these three kinds of stage are defined. At the same time, the traditional forms of stage and temple are compared and analyzed through field investigation. To re-establish the understanding of Taiwan's contemporary temple stage. In Chapter 4th, the stage function and management of Taiwan Temple Theater is based on the above three types of theatrical stage, combined with the definition of stage and audience, it is believed that the theater will be by various external means. The so-called stage technology, to carry out or help the actors and the audience of information exchange, participation and interpersonal perception of communication, showing the external and meaning of the three stages of the functional interpretation. Section II stage management research. Then from the Taiwan professional theater to the folk temple stage management situation, the classification explanation and the field investigation analysis, obtains the temple drama form, in the performance management aspect has the cognition and the way difference. Chapter 5th conclusions and recommendations, in order to achieve the conclusion of this paper, and for the temple stage, performance and performance and Taiwan Theatre recommendations. It is expected to be helpful to Taiwan and the mainland in studying stage performance culture or in formulating policies.
【学位授予单位】：上海戏剧学院
【学位级别】：博士
【学位授予年份】：2011
【分类号】：J819

【参考文献】