| 英文摘要 |
“Intercultural/ transcultural” as an aesthetic notion and artistic practice has been implemented in Taiwan for decades. The intercultural adaptation in Taiwan reached its peak as the internationally renowned director Robert Wilson collaborated with the Taiwanese Beijing opera diva Wei Hai-min and staged his Chinese Orlando in Taipei in 2009. The solo performance received mixed responses: While some argued that the production disclosed the incongruity of two entirely different aesthetics and discredited both the director and the actress, others maintained that a revolutionary work required a different way of seeing. Therefore, an investigation into the collaboration process is worthwhile, that is, how Robert Wilson and Guoguang Opera Company communicated with each other, how the Taiwanese playwright Wang An-qi tried to insert as much Beijing opera literary elements in an already established text as possible, and how the Beijing opera diva Wei adjusted herself to Wilson’s aesthetic vision. It may not be a coincidence that in a year after the collaboration, the Guoguang production team came up with another semi-solo performance, Meng Xiao-dong. Based on the story of a Chinese theatre celebrity in the early 20th century, some dramatic aspects in Meng Xiao-dong such as the theme, language, reminiscent stream-of-consciousness narration, and the wide use of monologue seemed inspired by the experience of Orlando. Acknowledging the stake of intercultural exchange, this paper examines in what way the experience of intercultural collaboration has influenced Guoguang Opera Company, represented by its leading actress Wei Hai-min and its artistic director and playwright Wang An-qi, by comparing Orlando and Meng Xiao-dong to see how much they learned from this intercultural exchange. |
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