北藝學院 2025戲劇構作春季課程

構作（Dramaturgy）是創意發展的訓練、是組織能力的加強、是鳥瞰宏觀與細部溝通的交互運用。

如果您對劇場事務有興趣、對許多作品有看法、對藝術行為的觀察有困惑，北藝學院就是您啟程探索之處。

北藝學院「戲劇構作課程」邀請臺灣最重要的戲劇專家與學者齊聚一堂，規劃一年二期豐富精彩課程，春季課程（3-6月）將從東方古典文學啟程，由國光劇團藝術總監王安祈分享40多年的戲曲構作經驗；中研院學者胡曉真從明清小說中的話術技巧，揭開古典小說的文字魅力；戲劇顧問吳政翰從多年的實務經驗，介紹戲劇顧問的角色與功能；最後由本期的構作課程總導師汪俊彥統合各課堂的內容，引導學員將大師講堂的理論與實務內容，轉化為構作工作坊的學習實踐。期許學員獲得戲劇構作領域的基本技能外，還能拓展藝術與人文思辨能力，從而提升構作能力在各種文化與創作環境中的靈活應變。

課程簡章   *報名學員需全程參加所有課程，缺席3堂課則無法參與後續課程。

*全課程報名時間：2025.2.17 (一) 12:00起至2025.3.12 (三) 23:59止

【課程一】我的藝術總監經驗——以《閻羅夢》、《孟小冬》、《精衛》等國光劇團作品編創與構作為例

講師：王安祈

時間：3/18(二)、4/1(二)、4/15(二)、4/29(二)、5/13(二) 19:30-21:30

地點：北藝中心2樓太陽廳東南區

課程簡述：

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。」

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構作歷程。無論是戲曲改編、跨界合作，還是傳統劇目的現代演繹，這一系列講座，將帶我們走進王安祈老師的藝術世界，深入瞭解她如何用創新的戲曲藝術魅力，影響全世界！

3/18(二)：如何改編創作《閻羅夢》？

4/01(二)：如何推名角登上巔峰？——《王熙鳳》、《金鎖記》、《孟小冬》

4/15(二)：如何跨界？為何跨界？——《精衛》、《繡襦夢》

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》

5/13(二)：如何擦亮傳統——「禁戲」與「魔幻」

備註：本課程開放一般民眾購票參加，單堂120元　

▶購票連結

【課程二】認識戲劇構作

講師：吳政翰

時間：4/22(二)、5/6(二) 19:30-21:30

地點：北藝中心2樓太陽廳東南區

課程簡述：

將介紹戲劇構作的基本概念與發展歷程，透過具體案例的分享和討論，帶領學員「戴著戲劇構作的眼鏡」思考創作與構思的方法。適合表演藝術相關工作者、文史哲藝背景或對於戲劇構作有興趣者參加，初探戲劇構作的創意大門。

4/22(二)：戲劇構作的概念與思考

5/06(二)：戲劇構作的應用與實踐

備註：本課程開放一般民眾購票參加，單堂120元 

▶購票連結

【課程三】古典小說與詐騙修辭學

講師：胡曉真

時間：5/27(二)、6/10(二) 19:30-21:30

地點：北藝中心2樓太陽廳東南區

課程簡述：

小說經常被轉譯成不同形式的戲劇作品，而古典小說中有許多精彩的故事，過去也成為不同作品發想的素材。本講座將由擁有多年古典小說研究經驗的胡曉真老師，挑選三部與愛情和婚姻有關的古典小說，帶領學員從女性視角認識這些故事。

5/27(二)：被誘入愛情的小婦人——《珍珠衫》的和《金瓶梅》

6/10(二)：被賺入婚姻的大俠女——《兒女英雄傳》

備註：本課程開放一般民眾購票參加，單堂120元　

▶購票連結

【課程四】如何批判性地提問文本？：戲劇構作的操作與實踐

講師：汪俊彥

時間：6/16(一)-6/20(五) 19:30-21:30

地點：北藝中心11樓排練場

課程簡述：

本期課程總導師汪俊彥將帶領學員從三位講師的理論與案例出發，加以檢視就其所蘊藏與預設的古典與當代、普遍與特殊內涵，並就文本如何凸顯劇場的美學、脈絡與觀眾的多樣性，又如何以實作戲劇顧問的角色與問題意識，確認創作內容的必要性、可能性與限制，定位當代製作與創作作品劇場性。

6/16(一)　戲劇與劇場美學史的知識與戲劇構作

6/17(二)　劇場並不中性：戲劇構作的劇場性與古典淵源

6/18(三)　劇場亦不標準：戲劇構作的特殊性與當代判斷

6/19(四)　劇場不能自由：戲劇構作的批判性與情感政治

6/20(五)  劇場為何當代：戲劇構作在意的觀眾革命

備註：此為參與全系列戲劇構作學員之限定課程，本課程不開放一般民眾購票參加。

【師資介紹】（依課程開始時間排序）

講師｜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。

講師｜吳政翰

戲劇顧問，序場劇本發展中心藝術總監。美國耶魯大學戲劇學院藝術碩士，主修戲劇構作與戲劇評論。長年推動戲劇構作及各類劇本發展，至今擔任過七十多部作品之戲劇顧問，經典與新創並陳，涵括一般戲劇、音樂劇、電影劇本及跨界展演等領域，並為「美洲文學監督與戲劇構作協會」會員。曾翻譯多部劇作，譯書有《賽門・史蒂芬斯的劇作家日記》。劇本曾獲臺北文學獎、新北市文學獎、優良電影劇本獎等。2022年獲得ACC亞洲文化協會獎助，赴紐約研究劇本發展機制。2024年成立「序場」，為臺灣首個劇本發展中心，致力於培植在地劇作、孵育編劇人才、並將臺灣戲劇及劇作家推向國際舞台。

講師｜胡曉真

中央研究院中國文哲研究所研究員，研究範圍包括明清敘事文學、明清婦女文學，以及清末民初文學。曾獲中央研究院年輕學者研究著作獎、國科會吳大猷先生紀念獎、中央研究院人文社會科學學術性專書獎、科技部傑出研究獎等學術性獎項。著有《才女徹夜未眠：近代中國女性敘事文學的興起》、《明清文學中的西南敘事》等專書。

構作課程總導師暨講師｜汪俊彥

國立臺灣大學中文系學士、戲劇研究所碩士，康乃爾大學劇場研究博士，曾獲傅爾布萊特獎學金、菁英留學計畫獎學金等。目前任教於臺大，開設文化展演、跨領域人文、華語劇場與文化批評等課程。曾擔任2022年《平行劇場——軌跡與重影的廳院35》策展人、2023-25「戲曲夢工場」策展人，並以戲劇顧問身份參與多種類型的劇場與表演製作。研究領域為臺灣當代劇場與文化翻譯，關注認識論與美學間的關係，近年著重華語全球表演的跨領域呈現。

【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.

【Course 2】Dramaturgy 101

This course introduces the fundamental concepts and developmental history of dramaturgy. Through concrete case studies and discussions, participants will be guided to think about creation and conception “through the lens of dramaturgy.” The sessions are suitable for performing arts professionals, individuals with backgrounds in literature, history, philosophy, or art, and anyone curious about the creative process behind dramaturgy. Together, we will open the door to the creative world of dramaturgy.

April 22 (TUE.) The Concepts and Foundations of Dramaturgy

This session will cover the historical development, basic principles, and conceptual frameworks of dramaturgy. Through selected video case studies, we will explore how to use dramaturgical methods to analyze and interpret texts, transforming ideas into stage expressions in collaboration with creators.

May 6 (TUE.) Applying Dramaturgy in Practice

This session delves into the various roles and working methods of dramaturgs in different projects and venues. It will share firsthand experiences as a creative consultant, discuss potential applications, and introduce the work of Prologue Center for New Plays.

To ensure continuity, we recommend registering both sessions.

【Course 3】Classic Chinese Novels & the Fraudster’s Rhetoric

Classic Chinese novels, rich with captivating narratives, have long served as inspiration for various theatrical adaptations. This course, led by Professor Hu Siao-Chen—an expert in classical Chinese literature—examines three classic Chinese novels centered on themes of love and marriage. Through a female-centric lens, participants will explore how these timeless stories unfold.

May 27 (TUE.) The Young Wife Lured by Love—The Pearl Shirt and The Plum in the Golden Vase

The Pearl Shirt, drawn from Feng Menglong’s Ming dynasty short story collection Stories Old and New, tells the tale of Jiao Xingge, whose wife San Qiao’er succumbs to an affair with Chen Dalang under the persuasion of Xue Po. After twists of fate and emotional trials, the couple eventually reunites. But does marital betrayal always stem from love’s disappearance? By comparing it with the social-realism novel The Plum in the Golden Vase, we will delve into Ming authors’ explorations of human nature and the complex calculations that often lie behind romantic entanglements.

June 10 (TUE.) The Heroine Bargained into Marriage—A Tale of Lovers and Heroes

In this Qing novel, the fearless Thirteenth Sister seeks vengeance for her father and roams the martial world. She rescues both a noble young man, An Ji, and a farmer’s daughter, Zhang Jinfeng, arranging a cross-class marriage between them. Grateful for her aid, An’s aristocratic parents propose marrying Thirteenth Sister to An Ji as well. How can such an unconventional marriage be justified within the bounds of morality and social expectation? The novel demonstrates how classical literature employs intricate rhetorical maneuvers to persuade even a heroic woman into a familial role, illustrating the sophisticated narrative strategies of the time.

【Course 4】How to: Literary Criticism - Practices and Applications of Dramaturgy

The course’s lead mentor, Wang Chun-Yen will guide participants through a critical examination of the classical and contemporary, universal, and specific elements embedded in the theories and case studies presented by three distinguished speakers. By addressing how a text’s aesthetic, contextual, and audience-oriented dimensions are revealed through dramaturgy, participants will learn to approach their role as dramaturgs with a focused sense of inquiry. They will consider the necessity, feasibility, and constraints of creative content and explore how dramaturgy defines the theatricality of contemporary productions and works.

June 16 (MON.) Knowledge of Theater and Aesthetic History in Dramaturgy

Dramaturgs assist in uncovering the richness of a text, while the aesthetic insights of theater history reveal how seemingly identical narrative elements can manifest vastly different theatrical effects. This session will explore how the accumulated knowledge of theater and aesthetic history sharpens the dramaturg’s ability to interpret and shape a text.

June 17 (TUE.) Theater is Not Neutral: Classical Roots and Theatricality in Dramaturgy

What resources can dramaturgs offer in text analysis? How do we define the "classical"—is it tied to a specific era? Is it neutral? The classical encompasses a wide range of character archetypes and aesthetic styles. This session will discuss the allure and dangers of employing the classical, questioning its assumed neutrality and examining how dramaturgs can effectively use it.

June 18 (WED.) Theater is Not Standardized: Specialization and Contemporary Judgment in Dramaturgy

How does a dramaturg assess the alignment between a text’s form and content? What does it mean to “customize” a single work for various creators? Can (or should) dramaturgs shape productions of Shakespeare, Peking Opera, Greek tragedy, or Butterfly Lovers? This session explores how dramaturgs guide creators to innovate beyond the constraints of the original work while preserving authenticity.

June 19 (THU.) Theater is Not Free: Critique and Emotional Politics in Dramaturgy

How should dramaturgs address questions of moral and ethical correctness? Is political correctness a concern in theater? How do issues of race, gender, class, and cultural identity inspire imaginative approaches to character and narrative, allowing theater to open up new, uncharted experiences for audiences? This session delves into the critical role of dramaturgy in challenging conventional values and emotions.

June 20 (FRI.) What Makes Theater Contemporary: The Audience Revolution in Dramaturgy

Ultimately, theater seeks to engage “audiences” through meaningful exchanges—both emotional and economic. Each audience member arrives with unique expectations, shaping an array of theatrical aesthetics. Texts guide audiences, and dramaturgs serve not only the text but also the audience. This session investigates how contemporary theater and curatorial practices inspire a revolutionary engagement with audiences, activating individual microcosms and influencing the larger world stage.

【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.

Speaker | Wu Cheng-Han 

Wu Cheng-Han is a dramaturg and the Artistic Director of Prologue Center for New Plays. He received his MFA in Dramaturgy and Dramatic Criticism from the School of Drama at Yale. For years, he has been a leading force in dramaturgy and script development, serving as the dramaturg for over seventy productions. His experience spans both classical and contemporary works, including plays, musicals, film scripts, and interdisciplinary performances. Wu is also a member of the Literary Managers and Dramaturgs of the Americas.

As a translator, he has worked on several plays, and his translation of Simon Stephens: A Working Diary is widely recognized. Wu’s own scripts have earned accolades such as the Taipei Literature Award, the New Taipei City Literature Award, and the Excellent Screenplay Award. In 2022, he received the ACC (Asian Cultural Council) Fellowship to study script development systems in New York. In 2024, he founded Prologue Center, Taiwan’s first dedicated script development center, focusing on nurturing local playwrights, supporting emerging talent, and advancing Taiwanese theater and writers on the international stage.

Speaker | Hu Siao-Chen

Professor Hu Siao-Chen is a research fellow at Academia Sinica’s Institute of Chinese Literature and Philosophy. Her research focuses on Ming-Qing narrative literature, Ming-Qing women’s literature, and late Qing and early Republican literature. She has been recognized with numerous academic awards, including Academia Sinica Early-Career Investigator Research Achievement Award, the NSTC Ta-You Wu Memorial Award, the Scholarly Monograph Award in the Humanities and Social Sciences from Academia Sinica, and the Outstanding Research Award from Ministry of Science and Technology. Professor Hu is the author of Burning the Midnight Oil: The Rise of Female Narrative in Early Modern China and The Southwest in Ming-Qing Literary Imagination, among other notable works.

Speaker | Wang Chun-Yen

Wang Chun-Yen holds a bachelor’s degree in Chinese literature and a master’s degree in dramatic arts from National Taiwan University, as well as a PhD in theater studies from Cornell University. A recipient of Fulbright and Elite Study Abroad scholarships, Wang currently teaches at NTU, offering courses in cultural performance, interdisciplinary humanities, Chinese-language theater, and cultural criticism. He has served as curator for the 2022 Dialectical: Trajectories and Displacements of NTCH and the 2023–2025 “Keep on Dreaming” opera festival, while also contributing as a dramaturg across a range of theater and performance projects. Wang’s research focuses on contemporary Taiwan drama and cultural translation, examining the interplay between epistemology and aesthetics. Recently, his work has emphasized interdisciplinary presentations of global Mandarin performance.

到場注意事項：
1.本課程於購票參加時，同步支付保證金新臺幣2,000元整，保證金將於全程參與課程後，於6/20（五）最後一堂課後無息退還保證金。學員須全程出席課程，如缺課超過3堂，則無法參加後續課程，且課程費與保證金無法退回，購票時請特別留意。

2. 若持身心障礙人士及其必要陪同者（限1人）、年滿65歲以上長者身份5折購票者，保證金則退還新臺幣1,000元整，相關規定同第一點說明。

3.若無法參與全系列課程，部分課程亦有開放單場參與，請參考本頁面資訊。

4.請於3/18(二)持講座票券至北藝中心二樓東南區報到，後續課程須於上課前完成現場簽到。

5.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。

6.如因不可抗力因素，將隨政府規範調整，主辦單位保有隨時修改本活動之權利。

7.如有相關問題，請與我們聯繫：研發部 謝小姐 (02)7756-3800#1966。