突破台灣雜技瓶頸的省思

Rumination on How We Might Make a Breakthrough for the Vaudevill of Taiwan

10.7021/PAJ.200501.0049

張文美(Wen-Mei Chang)

雜技 ； 台灣雜技 ； 雜技藝術 ； 雜技瓶頸 ； 雜技導演 ； 雜技劇本 ； 雜技音樂 ； 雜技舞蹈 ； 雜技演員 ； 雜技道具 ； 雜技服裝 ； vaudeville ； Taiwanese vaudeville ； vaudeville bottleneck vaudeville ； direction ； scripts for vaudeville ； vaudeville music ； vaudeville dancing ； vaudeville troupers ； vaudeville props ； vaudeville raiment

臺灣戲專學刊

10期（2005 / 01 / 01）

49 - 60

繁體中文

就台灣目前而言，如何將我們本土的雜技藝術發揚光大，與社會整體的脈動相結合，進而登上國家劇院，甚至立足世界舞台與各國競技一較高下。若無如此雄心壯志，台灣雜技的生存延續將更為坎坷！所以我們必須面對現實，急起直追，冷靜的思考，如何去突破台灣雜技藝術所面臨的瓶頸困難與解决之道。 平心而論，台灣雜技演員的基本功不如大陸演員來的深厚紮實，但是「觀念新穎、反應快速、接受力强、可塑性高」是我們所擁有的優點！若要轉弱為强與大陸相抗衡，就必須擺脫傳統模式的束縛，並且避免模仿抄襲。台灣的雜技一定要改頭換面另起爐灶，賦予新的精神象徵重新出發！如何策劃出成功的優質節目，製作出精良的藝術作品，筆者認為應從以下幾點探討－我們應著重節目【主題確實的掌握】、【落實劇本的編撰】、【導演精準的執行】、【音樂的創新製作】、【舞蹈的强化與輔助】、【演員內涵的充實】、【道具的設計與改良】、【服裝形式的變化】、【舞台技術的配合】這些程式是攸關節目成敗的九大重要關鍵。

Under the current circumstances of Taiwan's performing climate, it is important that we know how to popularize our local art of vaudeville, to the point that it can reflect the trend of our social mores, or even to the stage of our National Theatre Hall and further to the stage of the world where it'll serve as a staple in the world of vaudeville. So if we are devoid of this ambition, we shall have a harder time promoting the art of our vaudeville. Therefore, we must face the music and think clearly as to how we can make a breakthrough for the art of vaudeville of Taiwan. To put the whole thing straight, Taiwan vaudeville troupers shall not sustain comparison with those from the Mainland in point of basic movements, but our troupers contain such fortes as adaptability, malleability and are prone to accepting new concepts and are more often endowed with quick responses all of which are a sum superior. So if we are to compete with those troupers from the Mainland, we must first rid ourselves of traditional bondages and doubts of plagiarism in its performance and come out in an entirely new façade clothed in new spirits. Yet how can we accomplish in dishing out excellent and refined programs with high artistic tastes? Personally I think that we should (1) having a firm hold of the theme of the programs at hand (2) have substantial arrangement of the scripts (3) have precise executions on the part of the directors (4) have renovated production of music (5) have fortification by way of dancing (6) strengthen the inborn culture of the troupers (7) improve the designs of the props (8) emphasize the variety of the garment (9) note the latest development of stage techniques. For these are what I consider the key points affecting the outcome of a performance.

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