《最棒的幸運》劇本創作與理念

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題名:	《最棒的幸運》劇本創作與理念 Script Writing and Concept of 《The Best Fortune》
作者:	陳奕妘
貢獻者:	戲劇學系
關鍵詞:	創作理念家庭現實夢想 ideas of composition family reality dreams
日期:	2018
上傳時間:	2018-05-08 15:21:36 (UTC+8)
摘要:	本文旨在說明劇本《最棒的幸運》之創作理念及過程，主要分為兩大部分。第一部分包含故事大綱以及劇本全文，劇中故事取自筆者對於台灣藝術圈的體會與觀察、社會大眾於個人的期待、以及每個家庭寄予孩子的厚望。藝術的市場與環境不佳，使藝術科系的學生和其家長對於畢業後的出路產生疑慮，故事主角程保毅是家族事業第三代繼承人，儘管對未來已經有明確的抱負，但仍然被束縛在子承父業之傳統觀念中，他會勇於堅持理想？又或是選擇為自己生來的身份負責？劇本述說個人夢想與真實生活間的拉扯以及不同世代價值觀之對抗，至最終尋找到能真正使內心感到實在、幸福，且屬於自己的那個最棒的幸運。第二部分為劇本的創作理念，其中包含創作的動機、方法、取材，以及將劇中的時空背景、情節編排、對話、人物塑造與主題思想，結合戲劇理論之應用來相互驗證和分析。接著敘述筆者在本劇的故事內容、劇本分場及對話撰寫之創作歷程，與此劇本經過實際搬演的情況及觀眾的回饋。最後則是對於創作期間至演出結束的回顧與感想，戲劇結束後便消失，但思想會留存，筆者期望本劇在戲劇表演結束後，不是只像曇花一現的魔術，而是能夠寓教於樂，提供觀者一種或許可以解決人生問題的看法，還有帶給觀眾關於家人間情感的矛盾與感動，並能藉由戲劇提醒世人和自己：「別等到失去才學會珍惜。」 The purpose of the thesis is to illuminate ideas and process of composition of the script “The Best Fortune”, it is broken into two major sections. The first section contains a synopsis and a completed script. The script derived from three perspectives: The author’s experiences and observations on Taiwanese artistic industry, the society’s collective expectations of its members, and parents’ great hopes that pin on children. Artistic market and developing environment in Taiwan is not prosperous, what worries students and their parents the most is that a diploma in art cannot guarantee a decent job after graduation. Cheng Bao-Yi, a leading character of the story, had set clear goals for his life. But as a third-generation successor of a family business, there is an old tradition binds Cheng to succeed to his father’s company. Would he stick to his dream bravely? Or would he compromise with his family? The script elaborates a trade-off between individual dreams and real life, and a gap of values among generations. At the end of the story, Cheng found “the best fortune”: truly, blissful, and exclusive. The second section explains ideas of composition of the script, including its motivations, methodology, and source materials. This section then mutually corroborates and analyzes the time-space background, plots, dialogues, characters modeling, and themes of the script with the theories of drama. In addition, the section describes how the story contents, step outlines, and dialogues are composited. The process of theatrical performance and feedback collected from the audience are stated as well. To conclude, the thesis reviews the script throughout its composition, preformation, and termination. The play ends, but its concepts enduring. Hopefully the play is not a short-lived magic trick, but an entertaining and educational solution to life problems, identifying the contradiction and affection of a family relationship. The aim of the script is to remind the audience and the author: “Never realize what you have got until you lose it.”
顯示於類別:	[戲劇學系所] 博碩士論文

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