臺灣當代戲曲小劇場的實踐 ——以宋厚寬三部作品為例

Abstract

在臺灣當代戲曲的發展過程中，不乏優秀的劇本創作者，或是優秀的表演者，但近年來跨界嘗試越來越注重「導演劇場」，並越來越多議題導向的作品隨著對傳統藝術的支持與發展湧現在市場之中。 本論文透過對臺灣當代戲曲小劇場中表現優異的青年導演：第22屆台新藝術獎表演藝術獎獲得者宋厚寬導演進行觀察與研究，整理起創作發展脈絡，研究出一套當代戲曲小劇場導演是如何創作，如何經營劇團的發展軌跡。 宋厚寬作為其中一個代表性的人物，其透過不斷的當代戲曲小劇場實踐。嘗試不同的劇場表達方式，與其他創作者合作，透過其三個作品的實踐，分別表現其自己作為劇作家的「改編」意識、其作為導演在與團隊的實踐面向、以及作為導演的議題概念。挑選了宋厚寬導演2018年的作品《化作北風》2019年《女子安麗》、2021年《GG冒險野郎》進行討論。試圖尋找到一條臺灣當代戲曲創作者的實踐發展路徑。

In the development of contemporary Taiwanese Xiqu, there is no lack of excellent script writers or performers, but in recent years, crossover attempts have been increasingly focused on "director's theatre", and more and more issue-oriented works have emerged in the market, along with the support and development of traditional arts. By observing and studying a young director with outstanding performance in Taiwan's contemporary Xiqu small theatre, Sung Hou-Kuan, winner of the 22nd Taishin Arts Award for Performing Arts, this paper collates the development of his work and examines the development trajectories of how contemporary Xiqu small theatre directors in terms of how they create their works and run their theatre companies. Sung Hou-Kuan, as one of the representative figures, has been trying different theatre expressions through his continuous practice of contemporary small theatre. He has tried different ways of theatrical expression, collaborated with other creators, Furthermore, through the practice of his three works, he has demonstrated his own sense of "adaptation" as a playwright, his practical orientation as a director with his team, and the concept of the issue as a director, respectively. Director Sung Hou-Kuan's works "Turned into the North Wind" in 2018, "A Woman, Ani Li" in 2019, and " Marvelous Rider-G " in 2021 are selected for discussion. It is an attempt to find a practical development path for contemporary Taiwanese opera creators.