臺灣當代京劇旦行角色的多面向創造

Abstract

本文嘗試以台灣當代戲曲為主，尤其是當代京劇中旦角的表演呈現作為研究主體，從中探索演員如何在傳統程式、新編敍事當中摸索表演模式和程式的轉換，並透過女性角色展開傳統與現代的對話。本文透過對旦角創作的多面向分析，展示了當代戲曲在敘事、美學及表演上的變革，並強調女性演員、女性創作者的主動性及主體性。自七十年代以來，臺灣的戲曲經歷了全球化與本土化的雙重影響，藝術創作者們傳承京劇的技藝基礎上，融入現代劇場的美學理念。如魏海敏等演員通過新編京劇女性角色的創作，表演上連結傳統旦角藝術，並在情感表達與角色塑造上進行創新，突破傳統旦角的局限；賦予女性角色更多的層次與複雜性，特別是在權力、慾望等議題上的突破。更進一步討論了當代京劇中對女性情慾與心靈蛻變的表演呈現，關注當代演員如何從女性視角出發，進行傳統戲曲女性角色的再創造。過程不僅是對技藝的轉譯，更是對女性情感與自主性的深度探索。朱安麗等演員通過對女性情感與身體的探索，揭示了女性角色自我與社會價值之間的糾葛，反映了女性在情感與身份上的掙扎。此外，更重點分析了當代旦角獨角戲的表現形式，試圖探索演員如何透過個人生命經歷的重新建構與表達，探索當代戲曲中女性角色的多樣性與層次感。朱安麗和魏海敏等演員的作品突破了傳統／新編／實驗的界限，呈現出女性向內凝視的突破。本文希望在編導中心以外，突顯演員自身再創造及自我探索的重要性，當代旦角的創作不僅是在表演形式上的突破，更是一場深刻的文化與情感探索。當代旦角演員通過自我反思與創作實踐，將傳統戲曲的表演語彙賦予當代語境，並創造出具有現代感的女性角色形象，展現了當代女性在藝術創作中的主體性和力量。臺灣當代京劇旦行角色的多面向創作，為未來戲曲發展提供了新的突破角度，並開啟了女性在當代戲曲中的新篇章。

This study examines contemporary Taiwanese Beijing opera, focusing on the performance of Dan (female) roles in newly adapted Beijing opera. It explores how performers navigate between traditional conventions and modern performance models, creating a dialogue between tradition and modernity through the portrayal of female characters. The study analyzes the transformation of contemporary Dan roles in terms of narrative, aesthetics, and performance, emphasizing the creative agency and subjectivity of female performers. The creation of contemporary Dan roles represents not only a formal update but also a reinterpretation of the cultural essence of traditional opera. Since the 1970s, Taiwanese Beijing opera has been shaped by both globalization and localization. Artists have blended traditional Beijing opera techniques with modern theatrical aesthetics. Performers such as Wei Haimin have intricately portrayed their characters' inner worlds, demonstrating a deep understanding of traditional Dan artistry. They innovate beyond traditional confines, imbuing female roles with greater complexity, particularly in exploring themes such as power and desire. Additionally, the study addresses the depiction of female desire and spiritual transformation in contemporary opera, emphasizing how performers re-create traditional characters from a female perspective. This process involves more than just emotional expression; it delves into the exploration of female emotions and autonomy. Performers like Zhu Anli examine female emotions and bodies, revealing the emotional struggles between the self and others, reflecting women’s conflicts with their identities and desires. The third chapter explores the performance of solo Dan plays, where performers reconstruct and express personal life experiences, exploring the diversity and complexity of contemporary female roles. Performers such as Zhu Anli and Wei Haimin break the boundaries between traditional, new, and experimental forms, presenting works that reflect women’s inner lives. This study emphasizes the significance of the performers' creative contributions, beyond the role of the director. The creation of contemporary Dan roles is thus not only a breakthrough in performance form but also a profound cultural and emotional exploration. Through self-reflection and innovation, female Dan performers breathe new life into traditional operatic language, creating modern female characters that reflect the subjectivity and strength of contemporary women in art. The multifaceted creation of contemporary Taiwanese Beijing opera Dan roles offers new opportunities for the future development of opera, opening a new chapter for female roles in contemporary opera.