【北藝學院 戲劇構作開放課程】王安祈：我的藝術總監經驗——以《閻羅夢》、《孟小冬》、《精衛》等國光編創與構作為例

自幼受母親影響，成為京劇戲迷的王安祈老師，始終自稱「戲迷，是我唯一的身分。」

十歲即感受到戲曲觀眾逐漸老化，決心以戲曲現代化為己任。先為郭小莊、朱陸豪、吳興國等人作品編劇，自2002年與國光劇團合作《閻羅夢——天地一秀才》獲得好評後，接下戲劇總監一職，陸續推出《王有道休妻》、《三個人兒兩盞燈》、《金鎖記》等多部膾炙人口的作品，成功讓京劇打入年輕觀眾的市場。

在這5堂課中，王安祈老師將分享她數十年來的創作經歷，從不同時期的經典作品出發，細訴每部戲的創作理念與策劃過程。無論是戲曲改編、跨界合作，還是傳統劇目的現代演繹，這是一場深入了解戲曲藝術魅力的難得機會，邀請您與我們一同走進王安祈老師的藝術世界！

3/18(二)：如何改編創作《閻羅夢》？

2002年，王安祈老師與國光劇團首次合作的《閻羅夢——天地一秀才》一經演出便獲得極大反響，並榮獲2002年電視金鐘獎傳統戲劇節目獎，以及2003年甫成立的台新藝術獎十大表演節目等殊榮。此劇自首演以來，多次重演，依然深受觀眾喜愛。王安祈老師將帶領您走進創作的核心，深入探討她如何對陳亞先的原作進行巧妙修編，並講述這部作品如何在多年重演中進行創新與演變。

4/1(二)：如何推名角登上巔峰？——《王熙鳳》、《金鎖記》、《孟小冬》

王安祈老師為京劇天后魏海敏量身打造的一系列經典作品，從女性視角書寫京劇文本，成功創造出有別於傳統京劇的女性角色。《王熙鳳》中的潑辣精明的李鳳姐、《金鎖記》中對愛情與家庭執拗的曹七巧、「梨園冬皇」孟小冬的生命與藝術傳奇，在魏海敏精湛的演繹下鮮活而深刻。王老師將分享她如何打破傳統青衣演員的既定角色形象，創造出更具層次與深度的女性角色。

4/15(二)：如何跨界？為何跨界？——《精衛》、《繡襦夢》

當代藝術不斷挑戰創新與文化碰撞，而王安祈老師認為「跨界，不是真的有一個分野，而是在這之中嘗試有沒有融合、探索的可能」。2018年國光劇團與日本橫濱能樂堂跨界合作《繡襦夢》，掌握「夢幻能」精神，全新編寫崑曲折子，配合日本三味線伴奏，是崑曲與能樂的百年藝術交流。2025年即將推出的與翃舞製作合作的《精衛》，將探索京劇與當代舞蹈如何跨界演繹現代史爭辯人物「汪精衛」。王安祈老師將探討傳統戲曲跨界的趣味與困難，也分享她如何在傳統與現代、東方與西方之間找到創作的無限可能。

4/29(二)：如何慶祝劇團週年慶——《三個人兒兩盞燈》與《十八羅漢圖》

2005年作為國光劇團10週年作品《三個人兒兩盞燈》，將源於唐代《本事詩》中的一則宮怨故事，轉化三位後宮女子的幽微情思與情感困境，因「立足傳統又能開拓新局」的形式，獲得當年台新藝術獎評審團特別獎。2015年以《十八羅漢圖》畫作的真偽，搭築美學、藝術經驗，在虛構的時空背景裡尋求情的本真，作為20週年的代表作。從《三個人兒兩盞燈》與《十八羅漢圖》，王安祈老師將分享作為國光劇團掌舵者，如何與年輕創作者趙雪君、劉建幗合作編劇，一步步構築「京劇新美學」的每個十年。

5/13(二)：如何擦亮傳統——「禁戲」與「魔幻」

除了新編京劇外，傳統京劇中仍有無數值得當代觀眾細細品味的瑰寶。王安祈老師策劃的「禁戲」系列，曾經被禁演的傳統劇目，透過串場主持人帶出它們背後的歷史與文化背景，讓觀眾更能感同身受。而「魔幻」系列則是以生死陰陽為題，展示京劇武功的絕美魅力。王安祈老師將分享如何策劃演出劇目，將傳統經典再度帶入現代觀眾的視野。

*戲迷套票：2025.2.17 （一）12:00起，購買「我的藝術總監經驗——以《閻羅夢》、《孟小冬》、《精衛》等國光編創與構作為例」五堂課程各一張，享85折優惠。

【北藝學院 2025戲劇構作春季課程】完整課程，14堂3,500元（含保證金 2,000 元，全程參與者將全額退還保證金）

▶購票連結

講者｜王安祈

國立臺灣大學文學博士，退休後獲頒名譽教授。集劇作家、劇評家、戲曲研究學者與教授於一身，在學術與藝術領域均有卓越貢獻。2002年起擔任國光劇團藝術總監，致力推動臺灣戲曲「現代化」，其新編京崑劇作屢獲殊榮，包括金鼎獎、文藝獎、魁星獎、文藝金像獎及金曲獎最佳作詞獎等，並於2005年獲頒國家文藝獎，2019年因其終身成就獲傳藝金曲獎特別獎。

【Course 1】My Artistic Director Experience:  Examining Journey through Hell, Meng Xiaodong, & Jing Wei: Feathers Against the Tides

“The Drama Enthusiast is my only identity.” From a young age, influenced by her mother, Professor Wang An-Chi became an avid fan of Peking opera. At the age of ten, she noticed the aging audience of traditional Chinese opera and resolved to dedicate herself to its modernization. After writing scripts for esteemed performers such as Guo Xiao-Zhuang, Chu Lu-Hao, and Wu Hsing-Kuo, her 2002 collaboration with GuoGuang Opera Company on Journey Through Hell won wide acclaim. Following its success, she assumed the role of theater artistic director, producing a series of critically acclaimed works including Mr. Goodman Dumps His Wife, Three People, Two Lamps and The Golden Cangue, effectively attracting younger audiences to Peking opera.

In this five-session course, Professor Wang will share her decades of creative experience, taking participants on a journey through her landmark works. She will reveal her creative philosophies and planning processes, covering everything from adapting traditional operas and forging cross-disciplinary collaborations to reimagining classical pieces for contemporary audiences. This rare opportunity invites you to explore the enchanting world of traditional Chinese opera through the eyes of one of its most innovative voices.

March 18 (TUE.) How Was Journey Through Hell Adapted?

In 2002, Professor Wang’s first collaboration with GuoGuang Opera Company,  Journey Through Hell, received an overwhelmingly positive reception. It won the Traditional Drama Award at the 2002 Golden Bell Awards and was named one of the Top Ten Performances of the newly established Taishin Arts Award in 2003. Since its premiere, the production has been restaged many times and remains beloved by audiences. In this session, Professor Wang will guide you through the creative core of the piece, explaining how she skillfully adapted dramatist Chen Ya-Xian’s original work and how the production evolved over the years with each restaging.

April 1 (TUE.) Elevating Stars to the Pinnacle—Wang Shi-Fong,The Golden Cangue, and Meng Xiaodong

Professor Wang created a series of iconic roles for Peking opera diva Wei Hai-Min, bringing a fresh perspective to the traditionally male-dominated art form. Through a distinctly female lens, Wang’s scripts transformed traditional characters into deeply nuanced roles. Li Feng-Jie’s fiery wit in Wang Shi-Fong, Cao Qi-Qiao’s stubbornness in The Golden Cangue, and the legendary life of Peking opera’s “Winter Empress” Meng Xiaodong all come vividly alive through Wei Hai-Min’s exquisite performances. In this session, Professor Wang will share how she broke away from conventional depictions of Qingyi (dark robes, i.e. virtuous female roles) and infused her characters with new complexity and depth.

April 15 (TUE.) Why and How to Cross Boundaries—Jing Wei and The Dream of an Embroidered Robe

Contemporary art thrives on innovation and cultural interplay. For Professor Wang, “breaking boundaries is not about creating divisions; it’s about exploring whether integration and new possibilities can emerge.” The 2018 production The Dream of an Embroidered Robe was a collaboration between GuoGuang Opera Company and Japan’s Yokohama Noh Theater. It embraced the spirit of “Mugen Noh” crafting a new Kunqu excerpt paired with traditional Japanese shamisen accompaniment—an unprecedented blend of Kunqu and Noh artistry. Looking ahead to 2025, the upcoming collaboration Jing Wei with Hung Dance will explore the intersection of Peking opera and contemporary dance, centering on the controversial modern historical figure Wang Jingwei. In this session, Professor Wang will discuss the challenges and rewards of crossing artistic boundaries, and how she navigates the interplay between tradition and modernity, East and West, to uncover endless creative possibilities.

April 29 (TUE.) How to Celebrate a Troupe’s Anniversary—Three People, Two Lamps and The Painting of 18 Lohans

In 2005, GuoGuang Opera Company marked its 10th anniversary with Three People, Two Lamps, transforming a Tang dynasty concubine lament from Benshi shi (Poems in Their Actual Occasions) into a nuanced exploration of the emotional complexities faced by three imperial consorts. Praised for “grounding itself in tradition while breaking new ground,” the production earned a Jury's Special Award at the Taishin Arts Award that year. In 2015, GuoGuang’s 20th-anniversary production, The Painting of 18 Lohans, used the authenticity of a painting as a lens to delve into aesthetics and the essence of emotion, all within an imagined time and space. Drawing from these two milestone productions, Professor Wang An-Chi will share how she collaborated with young playwrights Zhao Xue-Jun and Liu Jian-Guo to shape GuoGuang’s “new Peking opera aesthetics” over each decade.

May 13 (TUE.) Restoration of Tradition—the Banned and the Mystic

In addition to new creations of Peking opera, countless treasures within the traditional repertoire still hold immense appeal for contemporary audiences. Professor Wang An-Chi‘s “Banned” series revived once-prohibited classics, with hosts providing rich historical and cultural context that allowed audiences to fully appreciate these works. The “Mystic” series explored themes of life, death, and the spiritual realm, showcasing the breathtaking martial artistry of Peking opera. In this session, Professor Wang will discuss her approach to curating these productions, bringing traditional masterpieces back into the modern cultural spotlight.

【Speakers Introduction】

Speaker | Wang An-Chi

Professor Wang An-Chi holds a Ph.D. in Literature from National Taiwan University and was conferred the title of Professor Emeritus after her retirement. As a playwright, critic, and scholar of traditional Chinese opera, she has made significant contributions to both artistic and scholarly realms. Since 2002, she has served as the Artistic Director of GuoGuang Opera Company, where she has championed the “modernization” of traditional Taiwanese opera. Her innovative Kunqu and Peking opera productions have earned numerous accolades, including the Golden Tripod Award, Literary Creation Award, Kui Hsing Award, Golden Statue Arts Award, and the Golden Melody Award for Best Lyrics. In 2005, she was honored with the National Award for Arts, and in 2019, she received a Special Award for lifetime contribution at the Golden Melody Awards for Traditional Arts and Music.

演出全長：課程全長約120分鐘，無中場休息。

到場注意事項：◎本活動全程進行平面及影像紀錄，報名即同意主辦單位取得活動影像拍攝肖像權。