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???org.dspace.app.webui.jsptag.ItemTag.dcfield??? | Value | Language |
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dc.contributor.advisor | 紀蔚然 | |
dc.contributor.author | Ger-Er Tsai | en |
dc.contributor.author | 蔡格爾 | zh_TW |
dc.date.accessioned | 2021-06-16T09:31:31Z | - |
dc.date.available | 2017-02-17 | |
dc.date.copyright | 2017-02-17 | |
dc.date.issued | 2017 | |
dc.date.submitted | 2017-02-15 | |
dc.identifier.citation | Works Cited
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dc.identifier.uri | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/59649 | - |
dc.description.abstract | In the wake of the Event––the 318 Movement, several theatrical productions that were staged in 2014 by members of Taiwan’s theatre community who are also avid participants of the Event. Productions like Representation of the Cherry Orchard (再現・櫻桃園, Zài Xiàn Yīng Táo Yuán), Rose-colored Country (玫瑰色的國, Méi Guī Sè De Guó), and Earth Project I (土地計劃首部曲, Tǔ Dì Jì Huà Shǒu Bù Qǔ) embodied 318’s ideals and shared its issues of concern, emphasized the importance of public issues over personal crises and displayed an acute awareness for social issues and injustices. This research proposes a novel term, “dramatic Evental response”, to illustrate their connection to the Event and dramatic theatre’s involvement in sustaining the Evental effect of 318. Through performance studies, this research examines the similarities between dramatic Evental responses, the Evental aspects of 318 that each responds to, and their positive significance besides reiterating 318’s discourse. From the analyses of the three Evental responses, we can detect three similar features: a potent activist characteristic, meta-theatricality, and subject consciousness. | en |
dc.description.provenance | Made available in DSpace on 2021-06-16T09:31:31Z (GMT). No. of bitstreams: 1 ntu-106-R01129005-1.pdf: 1223063 bytes, checksum: e774ed59c98cc55c39890084f76ba1d7 (MD5) Previous issue date: 2017 | en |
dc.description.tableofcontents | Table of Contents
摘要 i Abstract ii Table of Contents iii Chapter 1: Theatre and the Event 1 1.1 Introduction 1 1.2 Being and Event 2 1.3 The Strawberry Generation as the Empty Set 3 1.4 The 318 Movement 5 1.5 Dramatic Evental Response 8 Chapter 2: Representation of the Cherry Orchard 10 2.1 Introduction 10 2.2 Synopsis 11 2.3 Revitalizing the Classics 17 2.4 Wild Lily Student Movement and the First Production 18 2.5 The 318 Movement and the Second Production 25 2.6 Representation’s Contradiction 30 Chapter 3: Rose-colored Country 34 3.1 Introduction 34 3.2 Synopsis 37 3.2.1 Yun and Fu: Housing 37 3.2.2 Yao and Yi: Identity and Land Development 39 3.2.3 Chun and Yao: Diverse Family Formation 39 3.2.4 Xuan and Qi: Cross-strait Relations and Taiwanese Consciousness 40 3.2.5 The Reunion 41 3.3 Rose and Its Structures of Feeling 42 3.3.1 The First Shift – the White Shirt Army 44 3.3.2 The Second Shift – the 318 Movement 46 3.4 Rose and the Younger Generation 51 Chapter 4: Earth Project I 54 4.1 Introduction 54 4.2 Synopsis 57 4.2.1 Comeback from the River 57 4.2.2 The Angry Oyster 61 4.3 Comeback from the River and the Paradoxical Resisting Subject 65 4.4 The Angry Oyster and the Strategic Invention of a Common Enemy 67 4.5 A Sentimental Trap 69 4.6 Earth Project I, In It Together. 70 Chapter 5: Conclusion 72 Works Cited 75 | |
dc.language.iso | en | |
dc.title | 三一八之後:台灣戲劇作為事件反饋 | zh_TW |
dc.title | Dramatic Theatre as Evental Response in Post-318 Taiwan | en |
dc.type | Thesis | |
dc.date.schoolyear | 105-1 | |
dc.description.degree | 碩士 | |
dc.contributor.oralexamcommittee | 高維泓,王威智 | |
dc.subject.keyword | 318,巴迪烏,事件,政治劇場,台灣,太陽花運動,楊升豪,讀演巨人,三缺一劇團, | zh_TW |
dc.subject.keyword | 318,Badiou,Event,Political Theatre,Taiwan,Sunflower Movement,Yang Sheng-Hao,the Cyclops Troupe,Short One Player, | en |
dc.relation.page | 77 | |
dc.identifier.doi | 10.6342/NTU201700621 | |
dc.rights.note | 有償授權 | |
dc.date.accepted | 2017-02-15 | |
dc.contributor.author-college | 文學院 | zh_TW |
dc.contributor.author-dept | 戲劇學研究所 | zh_TW |
Appears in Collections: | 戲劇學系 |
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ntu-106-1.pdf Restricted Access | 1.19 MB | Adobe PDF |
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