音樂劇《羊角男孩》中殖民主義下「他者」的文化選擇
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2019
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Abstract
本文論述筆者如何透過音樂劇《羊角男孩》之創作手法、虛構設計及音樂劇歌曲之敘事技法，將當今社會下「他者」之文化選擇融入於奇幻音樂劇作品中。
作品中以真實世界歷史下殖民者與被殖民者之關係，以及文化與文明之差異探討作為基底，進而結合「發展下的受害者」所面臨的選擇及現況，建構出音樂劇《羊角男孩》中「塔尼亞國」以及「羊格拉族」之虛構世界觀以及劇中重要意象的使用。並透過作品之故事設計、情節佈局以及角色規劃，結合筆者自身經驗以及歷史反思，轉化為音樂劇作品。藉由音樂劇歌曲敘事手法之分析，將音樂劇歌曲分作九大功能，進而探究作品中歌曲之曲式安排以及結構分析，論述音樂劇《羊角男孩》如何利用歌詞編排將音樂劇中「戲劇文本」以及「音樂文本」相互融合。
音樂劇《羊角男孩》藉由劇中角色對於羊角的追求，以呈現「他者」在強權文明下之文化喪失以及族群認同感之弱化。筆者期望透過音樂劇《羊角男孩》探討過去人類歷史脈絡中殖民者所持有之殖民理念以及目的，進而虛構出一個不存在於歷史中之世界以及族群，藉由奇幻的形式，使觀者能夠跳脫出舊有的歷史框架，卻能透過劇中之情節設計以及角色選擇，連結自身過去之情感經驗而了解人類歷史脈絡下相異族群之相互關係，以及重拾對於自我族群之認同感，最終能夠面對歷史以及面對「他者」。
This thesis unravels how the author uses the musical writing techniques, fictional designs, and narrative function of songs in the musical “The Boy with Yangkerah Horns" to incorporate the cultural choice of “the other” into the fantasy musical. The musical is based on the relations between colonists and the colonized in real world and the comparisons between cultures and civilizations. In this musical, the author talks about the collateral victims of development and the choices and situations they face. This also helps the author construct the fictional worldview of the Kingdom of Tania and the Yangkerah Tribe in the musical “The Boy with Yangkerah Horns." With the storyline structure, plot arrangements, and character designs, the author includes her personal experiences and her reflection on historical events and creates this musical. By analyzing the narrative function of songs, the author divides these songs into nine categories to further explore the arrangements of musical forms and the structural analysis. The musical “The Boy with Yangkerah Horns” is a great example of combining the script context and the music concept with lyric arrangements. The musical “The Boy with Yangkerah Horns" uses the main character’s pursuit of Yangkerah horns to disclose the loss of cultures and cultural identity of ”the other” under hegemony. In this musical, the author hopes to discuss the purposes of colonization by creating a fictional world and fictional tribes for this fantasy musical, allowing the audience to put aside the history and think outside the box. However, with the plot arrangements and character designs, the audience gets to recall their personal experiences from the past and understand the relations between different ethnic groups within that historical context. After finding their ethnic identities, these people can eventually be ready to face the history and “the other.”
This thesis unravels how the author uses the musical writing techniques, fictional designs, and narrative function of songs in the musical “The Boy with Yangkerah Horns" to incorporate the cultural choice of “the other” into the fantasy musical. The musical is based on the relations between colonists and the colonized in real world and the comparisons between cultures and civilizations. In this musical, the author talks about the collateral victims of development and the choices and situations they face. This also helps the author construct the fictional worldview of the Kingdom of Tania and the Yangkerah Tribe in the musical “The Boy with Yangkerah Horns." With the storyline structure, plot arrangements, and character designs, the author includes her personal experiences and her reflection on historical events and creates this musical. By analyzing the narrative function of songs, the author divides these songs into nine categories to further explore the arrangements of musical forms and the structural analysis. The musical “The Boy with Yangkerah Horns” is a great example of combining the script context and the music concept with lyric arrangements. The musical “The Boy with Yangkerah Horns" uses the main character’s pursuit of Yangkerah horns to disclose the loss of cultures and cultural identity of ”the other” under hegemony. In this musical, the author hopes to discuss the purposes of colonization by creating a fictional world and fictional tribes for this fantasy musical, allowing the audience to put aside the history and think outside the box. However, with the plot arrangements and character designs, the audience gets to recall their personal experiences from the past and understand the relations between different ethnic groups within that historical context. After finding their ethnic identities, these people can eventually be ready to face the history and “the other.”
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他者, 殖民主義, 後殖民主義, 音樂劇, 音樂劇歌曲功能, the other, colonialism, postcolonialism, musical, narrative function of songs in musicals