音樂劇《芝加哥》的編舞及導演手法於劇場和電影之探討

Abstract

許多音樂劇電影的前身，都是舞台上的劇場版音樂劇，這樣的跨媒介創作並不少見，而音樂劇《芝加哥》更是其中的翹楚。《芝加哥》擁有悠久的歷史，擁有經典的劇本、編舞及音樂。從舞台上帶到電影，透過攝影運鏡、蒙太奇以及平行剪輯，讓角色的個性、立場和事件，在寫實與非寫實的歌舞上融合得恰到好處。目前在諸多作品中，因媒介的限制的考量，劇場跨域至影視或影視跨域回劇場，都是一大考驗。本詮釋報告將以1996年後至今的舞台版《芝加哥》與2002年電影版《芝加哥》進行研究、分析與比較，並從音樂劇《芝加哥》的背景、創作者、劇本、角色與歌曲進行介紹和分析。最終，依照劇本順序，基於電影調度和編舞的借鑒，挑選前七首歌曲作為此次詮釋報告的重點。跨媒介的詮釋面臨諸多限制，舞台調度與鏡頭語言的不同，如何聚焦並帶出效果，成為研究生編排時的挑戰。電影版的專業舞者與舞台上的音樂劇演員在肢體表現上的懸殊，是研究生在編舞上必須果斷取捨與改編的考驗。在劇場中，受到舞台和燈光的限制，研究生無法完全復刻電影版的蒙太奇與平行剪輯，但可以透過道具、畫面構圖、服裝、演員的表演詮釋，以及疏離效果的運用，盡其所能接近理想中的跨域詮釋。Most musical films originate from stage musicals, and such cross-media adaptations are not uncommon. Among them, the musical Chicago stands out as an exemplary work. Chicago boasts a long history, with a classic script, choreography, and music. In its adaptation from stage to screen, techniques such as cinematography, montage, and parallel editing have been employed to perfectly blend the characters’ personalities, viewpoints, and events within both realistic and non-realistic musical scenes.In many cases, cross-media adaptations from theater to film or vice versa pose significant challenges due to the limitations of each medium. This interpretive report will focus on the stage version of Chicago from 1996 to the present and the 2002 film version. It will provide an introduction, analysis, and comparison based on the background, creators, script, characters, and songs of the musical Chicago. The report will ultimately highlight the first seven songs in the sequence of the script, focusing on cinematic direction and choreography as points of reference.Cross-media interpretation faces numerous constraints, such as the differences in staging and cinematic language, which present challenges for student directors when aiming for effective focus and impact. The stark contrast between the physical expression of professional dancers in the film and musical theater actors on stage poses a critical challenge for students in making decisive choreographic choices and adaptations. Due to limitations in stage and lighting, students cannot fully replicate the montage and parallel editing of the film version in the theater. However, they can strive to approach the ideal cross-media interpretation through the use of props, stage positioning, costumes, actor performances, and the employment of distancing effects.