音樂劇作曲與劇本之關係—原創音樂劇《捕鼠記》創作解析

Abstract

當創作者選擇了特定的題材，便會採用與其相適應的藝術形式來表現它。本原創音樂劇《捕鼠記》改編自聊齋〈促織〉，該題材風格涵括了神鬼、奇幻、諷刺等，與音樂劇所具有非寫實、抽象的特質相符合，恰可藉由音樂劇之敘事特質來呈現。然而音樂劇為高度綜合性的表演藝術，具有戲劇與音樂雙文本的特質，因此音樂劇的創作者必須釐清戲劇與音樂之間的關係、並整合兩者。筆者針對音樂劇此一形式進行研究與撰寫創作書面報告，前三章將從音樂劇創作與其形式作為文獻基礎，進而論述音樂劇的音樂定位與實踐。後三章進入創作實踐，將解析《捕鼠記》的文本創作，並以劇本結合音樂的思考模式去論述；結論梳理實踐過程的想法，並以音樂定位的四層面以及音樂實踐三階段，說明音樂劇作曲與劇本之關係。When the creator chooses a specific subject, he will use the appropriate performance to express it. The original musical"The Rat Catcher" is adapted from "Liao Zhai: Cricket" which tell stories about ghosts, fantasy, satire, etc. And this narrative way excatlly consistent with the non-realistic and abstract of the musical. However, with the dual text character of musicals, creators must integrate drama and music during the creative process. Therefore, focusing on those elements and the relationship is my research purpose. The first three chapters will take the creation of musical and its form as the literature review, and then discuss the music positioning and practice in musical. The last three chapters move on to"The Rat Catcher", analysing the script and music to describe how the script combined with music. The conclusion discusses the relationship between the script and the composition of the musical, and explains the four levels of musical positioning and the three stages of musical practice.