高行健之戲劇 : 理論與實踐

高行健的戲劇作品與理論，兼備中西文化主題（motifs），東西方劇場的手法，最適合作比較文學的範例。本文全面分析高行健的劇作與理論，從主題與形式兩方面，審度劇作中重複出現追尋自我的主題。其劇作包括《絕對信號》、《車站》、《野人》、《彼岸》、《冥城》、《逃亡》、《山海經傳奇》、《生死界》、《對話與反詰》、《夜遊神》、《周末四重奏》、《八月雪》、《叩問死亡》；五個現代折子戲包括《模仿者》、《躲雨》、《行路難》、《喀巴拉山口》、《獨白》；一個舞劇《聲聲慢變奏》共計十八部戲劇。又整理探究理論文集《對一種戲劇的追求》、《沒有主義》、以及《文學的理由》。作者的主體意識扣緊不同時期的逃亡經驗，經一番外求與內尋的過程，不斷抗衡與否定不同的「他者」。這種抗衡，固然呈現人類本質的狀態，卻缺乏主體的自主性，也展示主題的矛盾。因為無論「他者」怎樣不斷置換為集體、強權、中國、性、慾望等對象，也不能抹殺其先於主體的實存性，反倒確立了主體的依附性。所以他的主體都一貫逃避中心、集體、缺乏實質的內涵，卻又內外交困，無法安頓。這種不斷反詰的精神，又反映在劇作的「間離」的形式上。高行健以敘事、三重角色與儀式（rituals），間離觀眾與角色。雖然他追求戲劇本質，嘗試回復中國儺戲與戲曲的傳統，也緊隨現當代劇作家如布萊希特（Bertolt Brecht）、惹奈（Jean Genet），但是難以調動觀眾的直覺感知經驗，達至娛人的目的。更有甚者，因為敘事手法的視點所限，宣揚個人主義的目的，昭然若揭。他的儀式意在增強戲劇的假定性，不在於回歸中國的佛道傳統，但效果不彰。他的「表演三重論」源於中國戲曲與布萊希特，貢獻止於為表演的監控意識命名，缺乏系統落實的方法，故難以與斯坦尼斯夫斯基（Konstantin Stanislavsky）、以及格羅多夫斯基（Jerzy Grotowski）的表演系統相提並論。本文試以高行健的劇作與理論，與現當代的國際劇作家、以及劇場理論家的成就互相發明，以鑑定其戲劇地位

文人武俠 : 張徹與胡金銓

武俠電影在中國電影誕生之初便佔有一席之地， 二十世紀六十年代，由邵 氏電影公司開創的武俠新世紀，給武俠電影注入了新的活力，打開了新的局面。 胡金銓追求製作精良、藝術至上的優質電影。而張徹作品中的務實、娛樂大眾、堅韌求生和香港起飛的每一個時代的精神相吻合。後世香港導演繼承他們的優良特質，充滿活力動感的香港電影時至今日方成為對世界影壇的一大特殊貢獻。 本文立足 文人武俠 ，分別探討張徹、胡金銓武俠片的個人特色、思想內容、藝術表現手法，特別是中國人文傳統、文學藝術在其作品中的表現，並比較他們之間的異同， 以及各自對香港電影發展的貢獻

「個人成長及全人發展」學習計劃教材套2007 : 小四至小六

本教材套 (高小) 的分層德肓教肓目標如下： 通過與生活事件相關的學習經歷，培養積極的態度和價值觀 透過專題研習，將所學的知識與日常生活所遇到的道德問題連結起來 藉著進行手腦並用的探究活動來認識本地社會，從而認清自己在社會上的角色https://commons.ln.edu.hk/apias_kit/1002/thumbnail.jp

Expressions of Visual Tension on Poster of Performing Arts

[[abstract]]Whether it is in the expression format or from aesthetical concern, modern arts seems to be in the trend of pursuing visual tension. A good design for performing arts poster must possess both transmitting function and aesthetical values simultaneously, especially with a kind of mixing in tension and athletic feeling for visual expression effect. Simply put, these are relative contrasts for each word and image element within the composition of picture, in addition to various interactions interplayed from standpoints of conflict, balance, fusion and disintegration. People can acquire the dynamic visual effect from still and static state of the picture itself. Therefore besides instantaneously still frames during athletic events, the balance and contrast are also the causes for creation of dynamic feelings. If following interpretations and theories from Gestalt psychology in principles for tension and movement, the whole idea was anchored on the assumption to destroy the visual balance of humans so as to trigger instinctively balancing tendency from human as result. This research therefore intends to apply these tension concepts unto the playbill design to enhance the transmission aspect of it, and the aestheticism. Lastly this research summarized into the following three categories for conclusion: (1) Through documentation exploration, this research summarized in concrete fashion regarding the occurrences for visual tension. This is determined and triggered by positioning, coloring, outer shape and movements, etc. Nevertheless those are responsible of generating the sources for each and every tension residing at consciousness level. Thus, the inducement of visual tension for any layout can be properly arranged to produce guidelines for contrast and coloring demands through the balancing quality for static display, and dynamic feeling for dynamic tension and the emotional tension. Amid all of these, the most effective one resides at the tension for picture composition. Even for those pictures lacking dynamics can be rectified through proper cutting and placed at the right location to achieve the effect for visual tension. (2) Through collecting and analyzing Taiwan’s performing arts posters, it came to our attention that there were more than one single cause and characteristic accounting for any posters to possess visual tension. It normally possesses the dynamic and balancing attributes or all three of them. And the expression also exhibits different characteristics as well. For these characteristics to be able to really generate the desired visual tension, it must achieve the unity effect first. And the purpose of this guiding principle for achieving unity resides at having the layout possessing a kind of design through expression of main body with sense of unity in addition to the layering expression of the layout. Therefore this can integrate the overall visual expressions so as to enhance the transmission efficiency for imbedded messages. (3) Through posters creation, it discovers the demands for “balancing” on the picture composition with tension are so vital, even exceeding the anticipation as result. If the playbill’s composition loses the balancing feeling or may even acquires an Instantaneous effect of dynamic and attention grabbing, nonetheless, this attention would not even come close to the esthetics feeling, but also lacks the capability of maintaining people’s attention span. Nevertheless, balancing lacking dynamic feeling would fall flat on It face. Thus, both the dynamic feeling and visual balance exhibit some kind of coexistence relationship in the end, just like the commonly known “balance of terror”. Consequently, this must be handled with utmost delicateness.

女夷救忠臣 : 《血影石》中的性别、疆界與華夷辯證

清初蘇州派劇作家朱佐朝《血影石》傳奇，敘寫八百媳婦國跨海向中國興兵,拯救明初“靖難”忠臣之家。本文由此出發，考察晚明清初文學敘寫華夷互動，當中内/外、自我/他者之間的關係如何安排，史地知識之實與建構想像之虚，彼此如何交錯轉换。本文首先將《血影石》與晚明小説《英烈傳》及《西洋記》對照分析，以見晚明清初小説戲曲中，華夷關係想像内涵的異同變化。其次聚焦《血影石》，分析劇作家如何在性别、華夷、政治錯综的場域中，調度轉化陰/陽、中原/異域、野蠻/文明符號，使原處從屬地位的“女”、“夷”得到角色動能，成爲救援行動的關鍵力量，並自海洋邊緣，以八百媳婦國爲中心，重構出另一套世界地理秩序，與中華視野下的華夷觀相抗衡。 In the seventeenth-century chuanqi play Xieying shi 血影石 (The Rock with Shadows of Blood), the tributary state of the Ming Empire, Babai xifu guo 八百媳婦國 (Lanna Kingdom, primarily in modem Northern Thailand) leads a joint fleet of the states in the southern and western oceans to “correct” the moral failings of the Ming Empire in China. After the civil war, the victorious Yongle Emperor usurps the throne from his young nephew, the Jianwen Emperor, executes the latter’s loyal ministers and persecutes their families. This play raises the questions as to what defines Yi (the foreign barbarian) as opposed to Hua (the civilized Chinese) and how the Hua-Yi boundary may be re-imagined. Juxtaposing the play Xieying shi with two late Ming novel Yingiie zhuan 英烈傳 (The Record of Heroes and Martys) and Xiyangyi 西洋記（ (The Record of the Voyage to the Western Ocean), this article demonstrates that the representations of Hua-Yi relationship as in late Ming and early Qing fiction and drama change from division，then to intermixture, and finally to reversal. The author analyzes how the playwright Zhu Zuochao 朱佐朝 unsettles and reinvents the conventional ying/yang，margin/center, barbarity/civilization dichotomies to empower the subalterns such as Nü and Yi to become vital forces in the operation and reconstruct a geographical world order with the Babai xifu guo from the coastal margin as its center that challenges the Hua-Yi view from the “central kingdom” perspective

The Liminality of Decolonization, De-Cold War and Deimperialization: Boal’s Newspaper Theater and East Asian Popular Culture as Method in Drama Box’s Community Commedia Dell’Arte News Busters!

The research on Singapore Chinese theater has largely focused on the study of theater groups, productions and/or practitioners within fixed historical timelines. There exists a gap in the consideration of how socially engaged Chinese theater in contemporary Singapore can potentially contribute to the discourse on decolonization, de-Cold War and de-imperialization. This paper examines Drama Box, one of Singapore’s most prolific theater companies, known for its socially engaging Mandarin productions and community theater. Drawing from Chen Kuan-hsing’s “Asia as method”, I consider the theater group’s cultural practice in relation to the state’s ongoing project for developing Singapore into “a global city for the arts,” the official framework of multiculturalism which draws from British colonial legacies, and the post-Cold War milieu for using Mandarin as a medium for political critique and social engagement in Singapore where English is an official working language. Focusing on the 2007 production of News Busters!, Drama Box’s Mandarin community comedy theater series touring in different government housing estates and inspired by the farcical and satirical conventions of Commedia dell’Arte, I analyze how it appropriates Augusto Boal’s newstheater techniques and East Asian popular culture genres and motifs for sociopolitical critique. Paying particular attention to the performance at Kreta Ayer Square, I examine the sociopolitical significance of its satire in an open civil space located in the late Minister Mentor Lee Kuan Yew’s constituency. This is a play that has satirized the Singapore General Election in 2006, questioned the government’s rationale for high ministerial salaries, meritocracy and elitism, and reflected on the political apathy, conservatism and myopia of voters. While the cultural intervention of News Busters! potentially contributes to decolonization, de-Cold War and de-imperialization, its liminality lies in Drama Box’s multifaceted relationship with the state, which is simultaneously collaborative and oppositional. Such an understanding problematizes binarized thinking, as proposed by “Asia-as-method.

「個人成長及全人發展」學習計劃教材套2007 : 中一至中三

本教材套 (初中) 的分層德育教肓目標如下： 從學科主導的教學，轉變為鼓勵學生以探究方式提問及主動捜尋答案 使專題研習成為學生每年應有的學習經歷，並讓他們把本學習領域的學習，聯繫到個人及社會上的議題，甚至其他的學習領域上 與別的學習領域的教師合作，以發展共同課題教學，及提供課堂以外的學習機會https://commons.ln.edu.hk/apias_kit/1003/thumbnail.jp

以戲劇習式融入中文教學對提升學生閱讀能力和閱讀動機的成效.

Thesis (B. Ed.)--University of Hong Kong, 2012.指導老師: 潘溫文.Zhi dao lao shi: Pan Wenwen.Includes bibliographical references (p. 64-66).運用戲劇習式於語文課作為教學工具被認為是種強而有力的學習過程，更有學者指 出讓學生透過戲劇活動學習，能有效提高他們的閱讀能力。此外，其與角色互動和富有戲 劇情境的課堂特色，使學生寓閱讀於娛樂，更能激起他們閱讀的興趣。 本研究是一項行動研究。運用其中一種戲劇習式－「坐針氈」於中三學生的中文閱 讀課，檢視其對提升學生中文閱讀能力和閱讀動機的成效。透過兩次閱讀能力前後測驗、 兩次問卷及個別學生訪談，本研究發現以戲劇活動融入閱讀課，確能有效提高學生的高階 閱讀思考能力和內在閱讀動機。不同閱讀能力組別的學生，在閱讀測驗方面皆有顯著的進 步。更有超過九成學生表示喜歡以戲劇活動學習文章，結果令人欣喜。 Using drama conventions as a means for teaching and learning in Chinese Language lessons is recognized as an effective process for learning. Some scholars even point out that the reading competency of students could be enhanced with drama approaches introduced to the lessons. Moreover, drama-driven lessons involve dramatic narratives and dynamic interaction among characters, which help them discover the joy of reading, and thus stimulate their interest for it. This study is an Action Research. By using one of the drama conventions, “Hot Seating” in the Chinese reading lessons of a Secondary 3 class, the effect of drama approaches on students’ reading competency and reading motivation for learning Chinese is investigated. The research includes one set of pre and post student questionnaires, pre and post comprehension tests and interview with individual students. The research findings support that drama approaches can indeed enhance the high order thinking reading abilities and their intrinsic reading motivation. The results of the comprehension tests reveal that most of the students show significant improvement, regardless of their reading abilities. In addition, the questionnaire survey indicates over 90% of students enjoy learning literary texts through drama approaches. As we can see, the research findings are very satisfactory.published_or_final_versionEducationBachelorBachelor of Education in Language Educatio

偷窺的幻想外遇 : 李翰祥鏡頭下的金‧瓶‧梅

提及李翰祥的風月片，總有評論家落入男性凝視（male gaze）的簡單批判。可見他們在李氏跨越七十至九十年代的《金瓶梅》風月片系列中，完全無視了女角色間的凝視、偷窺和偷聽。她們表面是忠於父權的妻子或僕人，暗地裡卻是偷窺得不亦樂乎繼而外遇的淫婦。李氏挪用原著的色情元素，以晚明資本主義下的道德失序，回應香港七十年代金錢至上、權威不受信任的意識。當時社會不再熱衷傳統倫理，投身於色情片熱潮中，因此觀眾享受的不單是李氏鏡頭下的美人，也是她們在凝視中拓展身分，主動開發情慾的反叛精神。她們甚至不怕男性凝視，最怕男性不凝視，因此搔首弄姿、嬌聲嬌氣，時而淫蕩，時而溫柔，讓至高無上的西門慶拜倒在她們裙下。 本文主要分析《風流韻事（蕙蓮篇）》（1973）、《金瓶雙艷》（1974）和《金瓶風月》（1991）中的四位女主角：金蓮、春梅、瓶兒和蕙蓮。探討李氏如何表現凝視間的陰性認同，並從女性間的認同分析她們對情慾的不同追求，如何（不）抗衡以西門作代表的父權，以一雙媚眼遊走於婚姻的曖昧地帶