| 摘要: | 回顧兩岸戲劇發展，因為時空背景與地理環境的差異而呈現不同樣貌。1949年以前的兩岸關係較為單純，隨著中華人民共和國成立與中華民國政府播遷臺灣，雙方一直處於對峙的特殊狀態，時至今日更有了錯綜複雜的政治關係。在雙方文化體交流當中──戲劇作為一門綜合性的藝術，它是直接面對社會大眾，因此可作為雙方一項重要指標。而它也是表現一地區的文化藝術涵養實力，並隨著近代走向高度產業化的同時，讓藝術價值和商業價值充分展現出來。而【表演工作坊】是兩岸熟悉的知名商業劇團，過往已有就該團進行研究的報告和論文，多半鎖定在經營探究；本文則以上述為利基進一步從社會面、歷史面、藝術面等方式進行探究，並以戲劇美學角度來審視該團為何能在兩岸成功的原因。
首先，本文將探究戰後四年間，大陸劇團和劇人赴臺演出交流之情況，並啟了何種作用；其次，對兩岸開放交流後雙方戲劇交流的概況進行梳理。並從中整理戲劇史中重要時間點事件，進一步分析雙方在進入彼岸演出的模式；其三，試圖從單一個案──【表演工作坊】進行解析並對其成功經驗加以總結。其四，針對該團舉出四個代表劇作，分別就不同交流面向加以分析，試圖窺探產業化的過程中，如何保有藝術化和商業化的兼顧與交流成功的因素點為何。
基於上述研究目的，故筆者的研究方法是採取蒐集相關論文、報紙新聞、專書和節目手冊等進行文獻探討，輔以訪談部分參與人士。
研究顯示，第一，戰後四年間是兩岸戲劇交流的濫觴，彼時是大陸劇作、劇人與劇團大量到臺的時候，它為當時臺灣帶來新的一番局面。然而，島內因素加上國府的遷臺，兩岸分治，使得剛起步的兩岸戲劇交流從而中斷。第二，1987年兩岸開放探親之後進一步開放交流，就戲劇交流的模式依序從學校與民間學術的交流到節慶上的交流再到地區上的交流。第三，【表演工作坊】代表著臺灣在大陸深耕開拓成功的劇團，從最早的《紅色天空》開始到《暗戀桃花源》、《如夢之夢》、《寶島一村》和相聲劇系列，越來越多的作品相繼「登陸」演出。
藉由從臺灣經驗的現象歸納出來，加以用來借鏡在本地或大陸的戲劇產業化是有所作用的。本文提出以兩岸交流的視野角度來看待【表演工作坊】，彰顯透過戲劇這一藝術形式的獨特魅力，讓戲劇做為交流的一項方式發表愚見，期望透過這次論述重新省思藝術本身及其蘊含作用於交流價值上的意義。從而為兩岸戲劇產業化運營提供一些建議。
The developmental models of theatrical exchanges between Taiwan and Mainland China are various and different due to the differences of time and space background, as well as the geographical environment. The relation across the Taiwan straits is relatively simple before 1949, however, with the establishment of the “People’s Republic of China” and the Republic of China government moved to Taiwan, the two sides has been at a special status of confrontation and a even more intricate political relation today. Theater, as a comprehensive art item directly to the public, plays a very vital and important role in the cross-cultural communication. Theater can reflect the culture and art strength of a certain region and its art value and commercial value has been fully demonstrated with modern moves towards highly industrialization. The “Performance Workshop” is a very famous commercial theater to the people on both sides and quantities of research has been conducted on it, however, the existing research reports and papers mainly focused on the management; this paper will aesthetically examine the reasons for the success of the Performance Workshop on the perspective of society, history, art and culture.
Firstly, the cultural exchange situation of the mainland theater performances to Taiwan during the 4 years after the World War II is examined, as well as the effect of this activities. Secondly, a general survey of the Theatrical Exchanges after the open communication on both sides is explored according to the key time points and events. Based on this, the performance models of both sides are further analyzed. Thirdly, the successful experience of the theater across the Taiwan straits is researched through the specific analysis of the case ---Performance Workshop. Finally, focus on the communication-oriented analysis of the four representative different plays of the group, the factors of how to maintain and balance the artistic and commercial points and exchange in the process of industrialization are spied on.
Based on the above research purpose, the research methods are following: to collect the relative articles, newspapers, news, books and program manuals and to interview some related participants.
Eventually, the research result is gained. Firstly, the theater communication is totally a disaster during the four years after the war. At that time, the mainland players and performance come to Taiwan and brings a lot of fresh ideas to Taiwan. However, the theater communication is interrupted due to the political factors, such as the partition on both sides, the coming of Chinese Nationalist Party to Taiwan and so an.
Secondly, the theater communication on both sides is getting more and more frequent due to the political policy to open the communication between the relatives across Taiwan straits after 1987. And the communication mode is from the school and civil academic exchanges to the communication on festivals and the communication within the region.
Thirdly, The Performance Workshop is a very successful Taiwan's art group in mainland China, more and more plays are performed in the mainland china followed the show of “ Secret Love in Peach Blossom Land ” , “ A Dream Like A Dream ”, “ The Village ”, and many other “ Crosstalk genre ”.
In view of the experience summarized from the above, this paper suggests to view the Performance Workshop on the perspective of theatrical exchanges, eventually to provide some advice on the theater communication and development of both sides. |
