王安祈。〈創作與評獎：以「國家舞臺藝術精品工程」三部入選劇作為例〉。《民俗曲藝》164 (2009.6): 191-227。
Wang
An-chi. “Creative
Writing and Awards-Granting: Case Studies of the Three Plays Elected in the
'National Project of Excellent Stage Art.'” Journal of
Chinese Ritual, Theatre and Folklore 164 (2009.6): 191-227.
Abstract
「國家舞臺藝術精品工程」是由中國文化部、財政部於2002年聯合實施的大型文化選拔活動。政府挹注大量經費，使精品工程成為全社會共同關心的工作，精品乃成為當前美學的最高指標。本文以入選精品的三部戲曲劇作《貞觀盛事》《膏藥章》《董生與李氏》為例，仔細比較評析不同或相關版本，旨在藉參賽現象，引發個人近十年閱讀與觀賞大陸戲曲創作的感受，並以此為切入點，對外聘話劇導演和豪華排場大製作等現象提出討論，進而觀察大陸戲曲創作的審美趨勢。《貞觀盛事》討論重點在編劇、導演、舞美三方面的「大」，《膏藥章》試圖對現代戲與京劇程式之間的磨合再做討論，並企圖區分諷刺與荒謬二者之不同，《董生與李氏》則通過新舊版比較見出戲曲虛實之間的問題。
The
"National Project of Excellent Stage Art" was a grand cultural
competition sponsored jointly by the Chinese Ministry of Culture and Ministry
of Finance in 2002. The government endowed considerable fund to the project,
making it a center of attention by the entire society. The notion of jingpin becomes the highest guideline of
current aesthetics. This article examines three opera works selected to the
project, The Heyday of Zhenguan, Herbalist Zhang, and Mr. Dong and Ms. Li. I compare and
analyze various versions of the same play. In the light of this
competition-entering phenomenon, I intend to offer my own observations in
reading and watching Chinese traditional opera works in the last 10 years. With
that perspective in mind, I will also discuss the phenomena of appointing stage
plays directors and presenting extravagant production. Then I will remark
observations on the aesthetic inclination of opera script composition in China Peking opera, and to tell the difference between sarcasm
and absurdity. Through comparing the old and new versions of Mr. Dong and Ms. Li, I demonstrate the
issue of boundary between reality and imagination.
Also
in Journal of Chinese Ritual, Theatre and
Folklore:
王安祈。〈藝術•商業•政治•紀錄―論「戲曲電影」及其對黃梅調電影的影響〉。《民俗曲藝》190
(2015.12): 1-66。
Wang
An-chi. "Art, Commerce, Politics, and Documentation: On the Xiqu Opera Movies and Its Influences on
the Huangmeidiao Opera Movies." Journal of Chinese Ritual, Theatre and
Folklore 190 (2015.12): 1-66.