Browsing by Author "Tsu-Chung Su"

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    Coming to “Terms” with Life
    (英語學系, 2011-03-??) Tsu-Chung Su
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    The Theatre of Essence in the Making: The Secret Art of EX-Theatre Asia's Actor Training Approach
    (英語學系, 2021-03-??) Tsu-Chung Su
    Chongtham Jayanta Meetei is a native Manipuri of India and currently the Artistic Director of EX-Theatre Asia based in Miaoli City, Taiwan. When he first came to Taiwan in 2005, he experienced culture shock, language barriers, and all kinds of miscommunication. As an immigrant artist in Taiwan, he felt alienated and frustrated in the beginning. In order to assimilate himself into local customs and cultures and to re-establish himself as a theatre artist in Taiwan's theatre circle, he began to grope for an actor training method and a theatre vision which could be rooted in Taiwan, yet have Asian and even global resonance. This search quickly became an existential quest for his roots in the rich cultural storehouse of Manipur and India. In addition to hisManipuri and Indian theatre roots, Jayanta also strived to integrate classical Asian theatre, Taiwan traditional theatre, Western realistic theatre, postmodern physical theatre, and other theatre forms into his brand of theatre aesthetics. He ended up naming his enterprise the "theatre of essence." As time went by, the idea of the theatre of essence has become the cornerstone fundamental to Jayanta's artistic endeavors and visions. In this paper, I first examine the question of "essence" in Jayanta's career as a theatre artist and explore the definition of the theatre of essence as proposed by him. Next, I look into the use of the rasa theory and other related theories of the Nāṭyaśāstra in the theory and practice of Jayanta's theatre of essence. I proceed to analyze Jayanta's dramaturgy, theatricality, and actor training method. Then, I discuss his theatre vision and critically appraise his theatre of essence in the making. Lastly, I draw a conclusion about Jayanta's initiative of the theatre of essence.
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    奧斯卡‧王爾德《莎樂美》中的東方主義
    (2020) 游佳洵; Yu, Jia-Shiun
    本論文試圖用愛德華‧薩伊德的東方主義觀念分析奧斯卡‧王爾德《莎樂美》中的東方主義色彩與其扮演的角色。王爾德所寫的法文戲劇《莎樂美》由聖經故事改編，多與女性主義、唯美主義或舞蹈研究連結，東方主義色彩雖濃厚，卻極少被當作討論主軸。我嘗試從英文版《莎樂美》中找尋東方主義的蹤跡，並討論分析劇中主角莎樂美所跳「七紗舞」與東方主義之連結，說明王爾德透過《莎樂美》用「王爾德式東方主義｣實現自我，及如何影響後代東方主義展演。 第一章為導論，我淺介奧斯卡‧王爾德的法文戲劇《莎樂美》劇本內容、創作背景以及王爾德對於東方的認識與印象。接著導出愛德華‧薩伊德所著之《東方主義》，主要聚焦在薩伊德對於「潛隱東方主義」與「明顯東方主義」的闡述及討論上，解讀《莎樂美》中所充滿的東方元素。第二章我以薩伊德所提之「潛隱東方主義」與「明顯東方主義」概念，深入解讀《莎樂美》英文文本，並詳細說明劇中所出現之重要東方元素:顏色、舞蹈、感知、慾望與邪惡。第三章主要討論劇中主要角色莎樂美所跳之舞蹈「七紗舞」。我將介紹從《莎樂美》於舞台上的演出歷史，及四個較有特色的版本加以討論: 穆德‧艾倫 (1892)、莎拉·伯恩哈特 (1906)、瑪莉亞‧愛溫(2009)與碧雅媞‧弗雷克(2016) 所演出之不同版本的「七紗舞」分析，說明西方演員展演東方角色時的距離感與矛盾感，展現不同時代下產出之《莎樂美》版本，有著各自表現東方主義的方式。
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    王爾德式丹蒂主義之研究
    (2012) 江欣蓉; Hsin-Jung Chiang
    本論文旨在提供王爾德式丹蒂主義(Wildean dandyism)之主題性研究及探索其獨特性。身為維多莉亞時期著名的丹蒂(dandy)與頹廢思潮作家，王爾德(Oscar Wilde)更將其丹蒂主義美學表現於文學作品中。因此，本論文首要指出王爾德式丹蒂主義的獨特性，再進一步分析王爾德作品中的丹蒂角色(dandiacal character)如何反應其丹蒂主義。 本論文主要分為三章，第一章為王爾德式丹蒂主義之定義：美學主義(aestheticism)、頹廢思潮(decadence)與現代英雄主義(modern heroicism)。主要在澄清王爾德式丹蒂主義及提供相關背景資料，王爾德發展其丹蒂主義主要是受美學主義與頹廢思潮所影響。同時，王爾德有其社會關懷部分，並非只有純美學概念。第二章為跨越道德與性：《少年格雷的畫像》與《微不足道的女人》。第三章為女性主義型、足智多謀型與女性丹蒂：《溫夫人的扇子》與《理想丈夫》。第二章與第三章皆探討王爾德的文本與其中的丹蒂角色如何反映王爾德式丹蒂主義。第二章著重分析多利安(Dorian)和亨利勳爵(Lord Henry)如何跨越道德以及如何重建理想美學世界。此外，亨利勳爵與伊靈沃斯勳爵(Lord Illingworth)皆跨越「性」並追求更高層次的精神關系。第三章旨在點出王爾德式丹蒂的不同面相，包含具有女性主義特色的達靈頓勳爵(Lord Darlington)、足智多謀扮演救星的果林勳爵(Lord Goring)，特別是兩部劇本中女性丹蒂的角色更是代表王爾德式丹蒂主義顛覆傳統性別刻板印象。