臺灣博碩士論文加值系統

《終點》是國立台灣藝術大學應用媒體藝術研究所研究生王培潔所導的一部多媒體音樂劇，於二〇〇六年六月在台灣藝術大學實驗劇場公開展演。本創作的主要目的，是希望使用劇場藝術的空間特性，結合影視媒體雙敘事軸的蒙太奇手法，發展劇場多元的表現方式。並藉由劇本所要探討的內容，透過蒙太奇拼貼剪接的手法，讓觀眾對原本單純探討愛情的文本，可以有更多的思想空間。

劇情內容是五個從事劇場工作的青年，在一個排練場所發生的愛情故事。俊亨和林宇彼此是死黨也是劇場工作的好伙伴，在一次找尋女主角的過程中，林宇將自己所喜歡的人－艾琳－一位在pub駐唱的歌手，介紹給俊亨認識，並推薦艾琳成為下一部戲的女主角，艾琳和俊亨一見鍾情，但卻未向對方表露情誼，也因為如此，使得喜歡艾琳的林宇和喜歡俊亨的導助雯雯，認定他們是自己未來的所愛對象，因此展開熱情的追求，暗戀雯雯的李翔也捲入了情海之中；俊亨和艾琳因為怕傷害他們的壓力下，心中的愛意更難以啟齒。然而每日排戲愈加日久生情，五個人交錯的愛情就此展開。當中有花心的、有專情的、有單戀的、有美滿的、有仇恨的，分為十五場戲中戲外不斷穿插呼應，再再反映了人生如戲，戲如人生的概念，觀眾們透過觀戲，在謝幕散戲後，可以思考現實的人生他們該如何掌握。

本創作結合了音樂、多媒體、及蒙太奇的敘事手法，為本劇的一大挑戰與突破，因此筆者針對文本的分析、創作緣起、創作理念、創作過程及演出效果……等等有詳盡的說明，另也將導演排練紀錄本附上做了一對照，希望對之後喜愛戲劇創作的讀者，可以參考這樣的創作過程，有更多的靈感上激盪，期待在台灣劇場的創作上，有更多精采的作品誕生。

“The End” is a multimedia musical directed by Wang Pei-Chieh, a graduate student of Applied Media Arts in National Taiwan University of Arts, and was debuted at experimental theater of National Taiwan University of Arts on June 2006. The purpose of this production is to extend the ways of expressions in theater by taking advantage of the spatial character of theater and combining the double story line montage technique. Through the combining and patching of montage effect and the discussion of the play content, audience can be inspired to think beyond the simple love story.

The main plot is a love story taking place in a rehearsal place with 5 young adults working in theater. Jonathan and Lynn are best friends and theater partners. Lynn introduced Irene, a pub singer and his crush, to Jonathan in a leading actress audition and recommended Irene to be the leading actress of their next play. Irene and Jonathan like each other at the first sight but never reveal their feelings to anyone. Lynn, who has a crush on Irene, and Wendy, assistant director and secret admirer both decided to aggressively pursue their love. At the same time, Wendy’s secret admirer, Shaun, somehow got entangled in this complex love triangle. Afraid of hurting anybody's feeling, Irene and Jonathan buried their love for each other deeper everyday. However, working side by side every day in the theater, feelings and relationships of these 5 people developed and unfold along the way. Fickleness, loyalty, secret admiring, happiness and rage, all within these 15 acts of drama and drama within drama which reflect the concept of “drama is life, and life is drama.” After the curtain falls, audience can cogitate how to handle their life through the lessons of this play.

This integration of music, multimedia, and the storytelling technique of montage is a challenge and breakthrough for this play. I thus made a detailed illustration and analysis to the play content, origin, idea, and process of this production, effect of the performance and etc… along with the comparison of director’s rehearsal notes hoping that through the reference of this production process, audience who love the theater can be inspired and thus creating more brilliant works in Taiwanese theater.

布羅凱特著，胡耀恆譯（1981）。《世界戲劇藝術欣賞》。台北：志文出版社。
宋國誠著（2005）。《閱讀後現代--威嚇．荒誕，塵土的歸隱─哈洛．品特的後現代荒
戲劇（一）》，復刊第384期Column，破報，台北。
邱緩著（2006）。《Show Time！音樂劇的9種風情》。台北：音樂時代。
胡茵夢譯（1987）。《尊重表演藝術》。台北：漢光文化。
（原書Hagen, Uta.Respect for Acting﹝1949﹞）
姚一葦著（1992）。《戲劇原理》。台北：書林出版社。
容淑華著（1998）。《演出製作管理》。台北：淑馨出版社。
陳秀琴主編（2006）。《音樂劇魅影》。台北：明天國際圖書有限公司。
崔小萍著（1972）。《表演藝術與方法》。台北：書林出版社。
童道明主編（1993）。《現代西方藝術美學文選》。台北：洪葉文化。
詹竹華著（1997）。《表演技術與表演教程》。台北：書林出版社。
慕羽著（2004）。《百老匯音樂劇》。台北：大地出版社。
廖本瑞著（1999）。《哈洛•品特戲劇研究》。台北：書林出版社。
顏元叔譯（1972）。《西洋文學批評史》。台北：志文出版社。
(原書William K. Mimsatt ,Jr.、Cleanth Brooks﹝1957﹞Literary :A Short History.)