PeachBlossomLand.ppt

暗戀桃花源 Problematizing Dreams in Peach Blossom Land and around it Outline Starting Questions Context I: Taiwanese theatre; From Theatre to Film Context II: cross-strait relationship More Questions; Three Approaches A Formalist Reading: Different Pursuers after Different Dreams An Meta-Theatrical/Filmic Reading National Allegory? –the Extra-Theatrical Starting Questions What do you think the film is about? How do you set its historical contexts? Please compare and contrast the two theatre groups and their plays. What roles do the directors, one assistant, the janitor and two strange women (one looking for 劉子驥 ) play? Peach Blossom Land: 2 Contexts background: 1985 -- 春天【表演工作坊】推出《那一夜，我們說相聲》，演出意外的受到歡迎，這對一個新生的劇團而言，無疑是一劑強心針。演出結束大夥已在計畫下一齣戲。當時的台灣尚末解除戒嚴，兩岸亦未往返，但社會上卻已隱藏一股山雨欲來的氣氛，這股暗流為當時我們這群嘗試以劇場為表現形式的人提供了絕佳的靈感。(丁乃竺 source) 1986 -- 《暗戀桃花源》 1987 -- 解嚴、宣佈開放大陸探親政策 1991 – 《暗戀桃花源》舞台劇重演 1992 -- 《暗戀桃花源》龍祥/台灣 1994 -- 《飛俠阿達》 Peach Blossom Land: Context (1) 《暗戀桃花源》－－陳玉慧導演的《謝微笑》－－在藝術館彩排的經驗 Context (1) Improvisational Theatre (or Improv.) Improvisational performance Improvisational training Group Improvisational writing (or performance text) Context (1) Improvisational Theatre (or Improv.) 2 Ref. Why is Improvisation important for an actor in theatre? 1. The actor is not driven by the script but by imagination and expressiveness in creating characters 2. Improvisational skills are a resource for the actor 3. Without skills in improvisation the actor is in danger of inflexibility and narrowness. (source: /wiki/Improvisation ) Peach Blossom Land Improvisational Theatre “Improvisation in its simplest form is spontaneously living the moment.” (Lai qtd Tsai 68) ) 開放式即興；規劃式即興 Peach Blossom Land Improvisational Theatre (2) e.g. 1 賴聲川－－ 提出他希望以兩個劇團爭奪一個舞台為出發? 大夥討論：一個以演悲劇《暗戀》為主的三流劇團，與一個以演三流喜劇《桃花源》為主的江湖劇團於焉誕生。 e.g. 2 你們三個人喝酒﹐讓老陶喝不到。 Context (1) Improvisational Theatre (2) e.g. 3 賴聲川－－ 要雲之凡向江濱柳起身告辭，同時要江濱柳叫住雲，問這些年可曾想過他。 而照此指示即興? 「到這一剎那，金士傑和我都突然進入一種無法言喻的情緒，突然間我們似乎觸碰到一個核心，一個龐大的東西