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作者:黃意玲
作者(外文):Yi-ling Huang
論文名稱:演譯性/別:台灣現代戲劇的跨文化改編,1990-
論文名稱(外文):Staging Gender: Intercultural Theatre in Taiwan, 1990s-
指導教授:周慧玲
指導教授(外文):Katherine Hui-ling Chou
學位類別:碩士
校院名稱:國立中央大學
系所名稱:英美語文學系
學號:981202007
出版年:104
畢業學年度:103
語文別:英文
論文頁數:83
中文關鍵詞:現代台灣劇場跨文化劇場性/別研究批判性跨文化劇場
外文關鍵詞:modern Taiwanese theatreintercultural theatregender studydisruptive intercultural theatre
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上世紀八十年代,台灣劇場工作者本身受到不同時空與文化中的劇本、身體訓練和表演策略影響,戲劇評論家曾以此批判台灣當時的現代劇場工作者過於注重舞台的聲光效果,忽視了文化本身的意涵。但是,二十一世紀的戲劇評論家卻察覺,台灣戲劇工作者在改編跨文化劇場時,已更加注意不同文化之間的脈絡:他們運用跨文化劇場的資源,將原劇目改編為創新劇目,並且藉以探討當代台灣的社會議題。
本論文探討三位現代劇場導演-魏瑛娟、閻鴻亞、周慧玲,他們分別在作品《艾蜜麗》(2003)、《床上的愛麗思》(2002)、《少年金釵男孟母》(2009,2010)中,運用性/別為跨文化劇場的策略。這三部作品都屬於與當代台灣社會的性別價值觀「衝突」的作品。這樣的「衝突」似乎揭露了台灣性/別議題與不同時空、文化的矛盾衝突。本論文認為這三位藝術家的目標實為顛覆台灣性/別議題的刻板印象-婚姻、憂鬱症女子、同志性別認同。他們利用跨文化劇場資源探討當代台灣的性/別議題,也挑戰觀眾的性/別意識形態。
During the 1990s, Taiwanese theatre artists were influenced by traditional as well as modern dramatic texts, body training and performing schemes of different cultures. Theatre critics once criticize the contemporary Taiwanese theatre artists for focusing too much on visual and auditory spectacle and lack of cultural awareness when making cross-cultural adaptation. In the twenty-first century, theatre critics observe that Taiwanese artists became more conscious of cultural contexts in intercultural adaptation. They used intercultural resources to reinvent old texts and combined different cultural traditions to address social issues in Taiwan.
Three theatre directors charted in this thesis, Wei Ying-chuan (魏瑛娟), Yen Hung-ya (閻鴻亞), and Katherine Hui-ling Chou(周慧玲), use intercultural strategy for gender debates respectively in Emily Dickinson (艾蜜麗, 2003), Alice in Bed (床上的愛麗思, 2002) and He Is My Wife, He Is My Mother (少年金釵男孟母, 2009, 2010). This thesis considers the three works as disruptive intercultural theatre, examining how they uncover the gender debates in Taiwan. I propose that the three directors aim to subvert the stereotype of cultural bias in Taiwan, particular that of gender stereotypes of marriage, melancholia women, and homosexual identity. They utilize intercultural resources to discuss gender issues in a Taiwanese social context, interfering with some misconceptions of gender.
Table of Contents
Chinese Abstract i
English Abstract ii

Chapter One Introduction 1
I. Methods and Scope in Intercultural Theatre 3
II. Intercultural Theatre in Taiwan 5
III. Chapter Overview 10
Chapter Two Pain as Rebellions against Stigma 15
I. The Struggle against Feminist Social Position in Emily Dickinson 16
II. The Feminist Agency: Rejections of Familial Authority in Alice in Bed 23
III. Castration: Removing Boundaries of Gender in He Is My Wife, He Is My Mother 31
Chapter Three Gender Performance: Alienation of Dramatic Illusion 39
I. Redefining “Women,” Emily Dickinson 41
II. Disguise between Illusion and Reality in Alice in Bed 47
III. Blurring Gender Boundary in He Is My Wife, He Is My Mother 52
Chapter Four Conclusion 60
I. An Unconventional Family 61
II. A Gender issue of Conservatism in the Twenty-First Century 64
III. A Concern for Melancholic Women 68

Works Cited 72
Works Cited

English Reference
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Chang, Ivy I-chu. “Queer Politics, Sexual Anarchism, and Nationalism.” TDR: The Drama Review. 58.1 (2014).
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Chen, Liang-chun. “Theatre Representation of Sexual Plurality in Taiwan (1990-99).” MA Thesis. National Central University, 2008. Print.
Diamond, Catherine. Actors are Madmen; Spectators are Fools: Taiwan Theatre 1988-98. Trans. Lu Chien-chung. Taipei: Bookman, 2000. Print.
_____. “The Floating World of Nouveau Chinoiserie: Asian Orientalist Productions of Greek Tragedy.” New Theatre Quarterly. 15 (1999): 142-164. Print.
Dolan, Jill. “The Discourse of Feminisms: the Spectator and Representation.” The Feminist Spectator as Critic. Michigan: University of Michigan, 1991. Print.
Foucault, Michel. “Political Bodies.” Performance Analysis: An Introductory Coursebook. Ed. Colin Counsell and Laurie Wolf. New York: Routledge. 2001, Print.
_____. Discipline and Punish: The Birth of the Prison. New York: Vintage, 1979. Print.
Goffman, Erving. Stigma: Notes on the Management of Spoiled Identity. New York: Simon & Schuster, 1986. Print.
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Holledge, Julie, and Joanne Tompkins. Women’s Intercultural Performance. New York: Routledge, 2000. Print.
Meltzer, Milton. Emily Dickinson: a biography. Minneapolis: Twenty-First Century Books, 2006. Print.
Pavis, Patrice. The Intercultural Performance Reader. London: Routledge, 1996. Print.
Schechner, Richard. Performance Studies: an Introduction. London: Routledge, 2002. Print.
_____. “Happenings.” Happenings and Other Acts. Ed. Manellen R. Standford. New York: Routledge, 1995. Print.
Sontag, Susan. Alice in Bed. London: Vintage. 1994. Print.
Srouse, Jean. Alice James: A Biography. New York: New York Review Books Classics, 2011. Print.
Su, Pei-kai. “Belittling Little Theatre, Belittling Self: Wei Ying-chuan's Recent Works and the Post-Little Theatre Movement.” MA Thesis. National Central University, 2003. Print.
Williams, Gary Jay: “Director, Text, Actor, and Performance in the Postmodern World.” Theatre Histories: An Introduction. New York: Routledge, 2010. Print.

Chinese Reference
An, Yuan-liang 安原良. “Re-construction and Re-creation of Art” (藝術元素的重組與再製). Performing Arts Review. 91: 54-59. July 2000.
Chang, Chia-fan 張佳棻. “Zen-Tze Theatre Laboratory: The Work of the Actor on Himself” (人子劇團:孤獨的表演者). Taipei Theatre Journal. 9: 21-38. Jan. 2009.
Chen, Ping-Hsui 陳品秀. “Aesthetics of bodily movement, Gu Ming-shen and Wei Ying-chuan” (讓動作的歸動作—古名伸與魏瑛娟的動作美學). Performing Arts Review. 78: 9-11. 1999.
Chi, Wei-jan 紀蔚然. “Investigation and Misunderstanding of Intercultural Theatre: the Explanation of Adapting Western Texts in Taiwanese Theatre ” (跨文化之正解與誤讀—台灣劇場改編西方正典之實驗意義). After Heterogeneity (眾聲喧嘩之後). Taipei: Bookman Books, 2008.
Chou, Katherine Hui-ling 周慧玲. “Alice in Bed by Yen Hung-ya” (鴻鴻床上的愛麗思). Performing Arts Review. 117:36-37. Sep. 2002.
______. “Multiplicity in Taiwan Women Theatre Festival” (五花八門的『女』節). Performing Arts Review. 43: 65-66. May 1996.
______. “Deconstruction and Reorganization of Conception of History” (史觀的解構與重塑). Performing Arts Review. 91: 38-42. July 2000.
______. “Revolution or Resistance? Gender Performance from late Qing to Early Republican China” (革命或反革命?晚清到民初舞台上的性別表演). Performing Arts Review. 48: 40-46. Nov. 1996.
Chung, Ming-der 鍾明德. The Little Theatre Movement of Taiwan (台灣小劇場運動史). Taipei: Yang Chih, 1999.
Fu, Yue-an 傅月庵. “Adventure between Body and Language” (在肢體與文字之間遊戲). Performing Arts Review. 108: 70-71. Dec. 2001.
Fu, Yu-hway 傅裕惠. “ Multifarious Gender Performance: Taiwanese Modern Theatre ” (也是一種「百花齊放」-試探台灣現代劇場創作中的性別議題展演). Forum in Women’s and Gender Studies. 73: 14-22. Jan.2005.
Ho, Josephine 何春蕤. “The Em(bodi)ment of Identity: Constructing Transgender” (認同的「體」現:打造跨性別). Taiwan: A Radical Quarterly in Social Studies.
46: 8-10. Jun. 2002.
Lee, Fu-ping 厲復平. “Revisiting Grotowski’s Theatre Practice and Theory” (再探葛羅托斯基劇場實踐與理論). Taipei Theatre Journal. 9: 7-20. Jan. 2009.
Li, Yu 李漁. Silent Operas (無聲戲). Beijing: People’s Literature Publishing House. 1989.
Sontag, Susan 蘇珊.桑塔格. Alice in Bed (床上的愛麗思). Trans. Huang Chi-hua黃翠華. Taipei: Tonsan. 2001.
Tuan, Hsin-chun 段馨君. Gazing Upon Taiwan Contemporary Theatre: Feminist Theatre, Intercultural Theatre and Performance Workshop. (凝視臺灣當代劇場:女性劇場、跨文化劇場與表演工作坊). Taipei: Airti Press. 2010.
Wang, David Der-wei 王德威. “Impersonating China: Gender, Performance, and National Identity” (粉墨中國:性別,表演,與國族認同). Journal of Theatre Studies. 2:169-208. July 2008.
Weng, Yun-ting 翁筠婷. “Ethnic Chinese Queer Romance, an Interview with Director/Playwright Katherine Hui-ling Chou” (華人酷兒羅曼史的五款情深-專訪《少年金釵男孟母》編導周慧玲). Forum in Women’s and Gender Studies. 92:69-74. Apr. 2010.
______. “Drifting Spectacle: Chinese Queer Diaspora in He Is My Wife, He Is My Mother” (漂浪奇觀:《少年金釵男孟母》的華人酷兒離散). Cultural Studies Bimonthly. 123: 49-73. 2011.
Yu, Shan-lu 于善祿. “Eleven Perspectives in Taiwanese Theatre in 2001” (觀看2001年劇場生態的十一個角度). Performing Arts YearBook. 21-23. 2001.

Filmography
Aide-memoire pour le prochain millenaire-Mouvements (Gei Xia Yi Lun Tai Ping Cheng Shi De Bei Wang Lu—Dong Zou 給下一輪太平盛世的備忘錄—動作). Dir. Wei Ying-chuan 魏瑛娟. DVD. 2003.
Alice in Bed (Chuang Shang De Ai Li Si 床上的愛麗思). Dir. Yen Hung-ya 閻鴻亞. DVD. 2002.
Click, My Baby (Click, Bao Bei Er Click, 寶貝ㄦ). Dir. Katherine Hui-ling Chou 周慧玲. DVD. 2004.
Déjà vu (Jing Yi Pai Dui 驚異派對). Dir. Katherine Hui-ling Chou 周慧玲. DVD. 2003.
Emily Dickinson (Ai Mi Li 艾蜜莉). Dir. Wei Ying-chuan 魏瑛娟. DVD. 2003.
European Dinner (Ou Feng Wan Can 歐風晚餐). Dir. Yen Hung-ya 閻鴻亞. DVD. 2002.
He Is My Wife, He Is My Mother (Shao Nian Jin Chai Nan Meng Mu 少年金釵男孟母). Dir. Katherine Hui-ling Chou 周慧玲. Script and DVD. Taipei: Da Ke, 2010.
I Want You, I Want You Not (Tian Liang Yi Qian Wo Yao Ni 天亮以前我要你). Dir. Katherine Hui-ling Chou 周慧玲. DVD. 2000.
Le Testament de Montmartre (Meng Ma Te Yi Shu 蒙馬特遺書). Dir. Wei Ying-chuan 魏瑛娟. DVD. 2000.
Love Scene Etude (Wen Yi Ai Qing Lian Xi Xi 文藝愛情練習戲). Dir. Wei Ying-chuan 魏瑛娟. DVD. 2002.
Memorial Day in Far Away Place (Yuan Fang Ji Nian Ri 遠方紀念日). Dir. Yen Hung-ya 閻鴻亞. DVD. 2003.
Memory Album (Ji Yi Xiang Bu記憶相簿). Dir. Katherine Hui-ling Chou 周慧玲. DVD. 2002.
Performing Step by Step with Spring (Yu Chun Tian Tong Bu Yan Chu 與春天同步演出). Dir. Yen Hung-ya 閻鴻亞. DVD. 2002.
Reel Murder (Ying Chi Mou Sha 影癡謀殺). Dir. Katherine Hui-ling Chou 周慧玲. DVD. 2005.
Taiwan Dreams Episode I: Dream Hotel (Tai Wan Meng Shou Bu Qu: Xi Xia Lu Guan‧Hu Die Shu 台灣夢首部曲:西夏旅館‧蝴蝶書). Dir. Wei Ying-chuan 魏瑛娟. DVD. 2014.
to be AND not to be (Bu San Bu Si Dao Tai Wan 不三不四到台灣). Dir. Katherine Hui-ling Chou 周慧玲. DVD. 2006.
Unbalance (Dong Wai Xi Dao 東歪西倒). Dir. Wei Ying-chuan 魏瑛娟. DVD. 1999.
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