| 中文摘要 |
影像投映在臺灣歌仔戲常見的功能主要有三：（1）如電影片頭般的序曲開場，（2）取代或部分取代舊式軟硬景的布景功能，（3）作為短片播放，與舞台上的劇情內容交錯，成為敘事的一部分。影像設計與技術這十年來在臺灣歌仔戲的發展，已不單只是背景式的陪襯，其「表演性」之旺盛已令人無法忽視，等於重新定義了影像與歌仔戲劇場的可能性，這一段迅速發生的轉型關鍵期，值得記錄。如此的發展，也與臺灣的影像設計工作者如王奕盛，往往同時與不同類型的表演藝術團隊合作有關，持續帶入開放多元的概念，這些概念也為勇於嘗試的歌仔戲劇團所接受，兩者激盪出火花。論文檢視二○一一年至二○一八年間的十餘部歌仔戲大型製作，並多聚焦於王奕盛與唐美雲歌仔戲團合作的作品進行分析。論文第一部分討論影像在臺灣大型歌仔戲製作中，如何介入序曲，與音樂、敘事有機結合，重新改寫歌仔戲的開場方式。第二部分則針對王奕盛的設計風格加以討論，最後以唐美雲歌劇團二○一八年的新作《月夜情愁》切入，將影像投映的實踐與實驗放在連鎖劇的歷史脈絡下檢視，思考與對照影像投映技術應用的過去與現在。
Gezaixi in Taiwan incorporates projection design for several purposes: 1. to help create a stunning prologue, 2. to serve as part of a setting, and 3. to show short films, interacting with what happens on stage and becoming part of the narrative. Image projection in gezaixi has become more than just a foil in the background. Its performative features have been too prominent to be ignored, redefining the possibilities of visual image in traditional Taiwanese musical theatre. This crucial period is worth noting. The development has something to do with the fact that designers such as Ethan Wang usually work with various performing arts talents and continue to bring in new ideas. The new ideas are also willingly taken up by adventurous gezaixi troupes. Their collaborations turn out to be dynamic and productive. The paper examines more than ten big-budgeted gezaixi works produced from 2011 to 2018, and particularly focuses on the works by Ethan Wang and Tang Mei Yun Taiwanese Opera Company. Firstly, I discuss how image technology intervenes in the prologue of mainstage gezaixi productions and organically works with the music and narrative, rewriting the way in which a gezaixi play opens up. Secondly, the paper studies the visual aesthetic of Ethan Wang in traditional Taiwanese theatre. Finally, I use Tang Mei-Yun Taiwanese Opera Company's Romancing in the Moonlight (2018) as an example to look at the experiment and practice of image projection in the historical context of liansuo ju (serial plays). |
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