存在與荒謬：音樂劇｢徒勞無功馬戲團｣創作研究
| dc.contributor | 林達隆 | zh_TW |
| dc.contributor.author | 陳宣義 | zh_TW |
| dc.contributor.author | Chen, Hsuan-I | en_US |
| dc.date.accessioned | 2020-12-10T06:00:40Z | |
| dc.date.available | 2014-2-20 | |
| dc.date.available | 2020-12-10T06:00:40Z | |
| dc.date.issued | 2014 | |
| dc.description.abstract | 福音劇具有悠久歷史及傳統，在聖誕節期演出的聖誕劇更是其發展重點之一。東吳大學安素堂劇獻委託筆者製作音樂劇《徒勞無功馬戲團》，期予能創作一齣結合神學、哲學及藝術高度的作品。本文從聖誕劇歷史脈絡來整理固有表現及可能發展性；並從哲學角度切入，探討荒謬與存在主題有關的哲學思想。以存在主義中的齊克果(Søren Kierkegaard, 1813-1855)及卡繆(Albert Camus,1918-1960)為例進行文獻探討，前者為有神論、積極性存在主義的代表；後者是揭發人生荒謬性的文學創作家。最後是貝克特(Samuel Backett, 1906-1989)與荒謬劇場的文獻整理分析，將哲學思維帶入劇場藝術創作中。 本研究以｢徒勞無功｣主軸發想，運用｢馬戲團｣概念為形式創作音樂劇，藉由相關創作的文本分析，引用其中表達存在與荒謬性的手法，綜合應用進行二次創作的轉化。並運用藝術指導的專業於戲劇創作歷程中，將欲表達之價值觀與意境具象化，透過視覺傳達設計方法將主題內容做有效傳播。 本創作實際演出兩場，以檢視研究成果。為達到福音劇目的，先解決人不覺得需要神的問題，利用存在主義角度呈現人生的存在與荒謬性，引發觀眾思考背後意義，帶出基督信仰的救贖觀。本研究將理論與實務做整合，以藝術指導專業為統整，展現存在主義精神的時代性與在地性，並開創了福音戲劇的新格局。 | zh_TW |
| dc.description.abstract | Gospel dramas are of long history and tradition, and productions during the Christmas season often marked the genre’s key developments. With the expectation to create an aesthetically satisfying piece that discusses both the topics of theology and philosophy, the Ward Memorial Methodist Church in Soochow University entrusted the author with the production of “Le Manège.” This thesis discusses the current manifestations and potential developments of Gospel dramas through a historic perspective. Also elaborated on are philosophical discussions, especially in regards to the topics of existentialism and absurdity, as presented in Søren Kierkegaard’s (1813-1855) and Albert Camus’ (1918-1960) literature works. While the former promoted a positive existentialism belief with emphasis on Christian existentialism, the latter was a literary creator whose expertise was in exposing the absurdity of life. Lastly, Samuel Backett’s (1906-1989) “Theatre of the Absurd” literature was also taken into account in the production of “Le Manège.” With the main theme of life events being “in vain,” the “Le Manège” production was a “circus-themed” musical aimed at presenting the concepts of absurdity and existentialism. The creation of the play reflected the author’s art director background and his ability to transform intangible values through visual design into broadcast-able manners. The “Le Manège” was performed twice. Through revealing the absurdity of human existence in existentialism methods, the play resolved the problem of men’s indifference toward God and brought up the concept of redemption in the Christian belief. This thesis is based on an integration of theory and practicality through art directing of a theatre production, so as to demonstrate the spirit of existentialism and open new possibilities for Gospel dramas. | en_US |
| dc.description.sponsorship | 美術學系 | zh_TW |
| dc.identifier | GN0699600342 | |
| dc.identifier.uri | http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0699600342%22.& | |
| dc.identifier.uri | http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115540 | |
| dc.language | 中文 | |
| dc.subject | 存在 | zh_TW |
| dc.subject | 荒謬 | zh_TW |
| dc.subject | 音樂劇 | zh_TW |
| dc.subject | 聖誕劇 | zh_TW |
| dc.subject | 荒謬劇場 | zh_TW |
| dc.subject | 藝術指導 | zh_TW |
| dc.subject | 戲劇創作 | zh_TW |
| dc.subject | Existence | en_US |
| dc.subject | Absurdity | en_US |
| dc.subject | Musical | en_US |
| dc.subject | Christmas play | en_US |
| dc.subject | The Theatre of Absurd | en_US |
| dc.subject | Art direction | en_US |
| dc.subject | Drama Production | en_US |
| dc.title | 存在與荒謬：音樂劇｢徒勞無功馬戲團｣創作研究 | zh_TW |
| dc.title | Existence and Absurdity：Production Research of Le Manège the Musical | en_US |
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