小劇場的精緻新古典：臺灣實驗崑劇的雅意與創意　189

前言  189

一、在臺灣實驗戲曲的脈絡中  190

二、「1/2 Q」和「蘭庭」的試探  194

（一）「1/2 Q劇團」《柳．夢．梅》基本架構

（二）「1/2 Q劇團」《情書》基本架構

（三）「1/2 Q劇團」《小船幻想詩》基本架構

（四）「1/2 Q劇團」《戀戀南柯》基本架構

（五）「蘭庭崑劇團」《尋找遊園驚夢》基本架構

三、曲徑通幽別有天  204

（一）改編手法與創發

（二）裝置藝術與環境的助力/干預

    結語  215

【提要】

自2004年至2007年的短短三年間，臺灣的小劇場出現了五部實驗崑劇演出，分別是：《柳．夢．梅》（2004.4）、《情書》（2005.5）、《小船幻想詩》（2006.9）、《戀戀南柯》（2006.12）和《尋找遊園驚夢》（2007.5）等。前四部作品皆為「1/2Q劇團」戴君芳導演、楊汗如主演，搭配施工忠昊裝置藝術的組合，進行風格固定，而面貌各異的持續探索。後者由「蘭庭崑劇團」主導，溫宇航導演並主演，嘗試將古典融入臺灣氣質獨具的古蹟中，激發了令人意想不到的新情境。

這五部作品的共同特色是：保留了崑劇古典精緻的本質，加入了現代的觀看視角。透過情境設計和安置，現代的因素在空間裡被凸顯出來；可喜的是崑劇精準而絕美的表演並沒有被打折扣，演員皆為一時之選；文本也具備相對的厚度和創意，五部作品皆非新編，僅只是對古典戲曲原著進行裁剪挪移，卻呈現了多層次錯落呼應的拼貼意趣與對話效果。

折子戲演出是崑劇藝術愈趨精緻的重要途逕，過去常在僅開放給少數觀眾的私人堂會中出現。堂會戲維護傳統，五部臺灣小劇場實驗崑劇，透過時空的移轉，把其中的「小眾」和「精緻」保留下來，卻開創了令人耳目一新的概念和風貌，並尋找到一條也許可以藉此延續的道路。誠然，有待解決的問題仍多，賞心悅目之餘，值得探討的是，它們完成了什麼？開創了什麼樣的可能性？正在形塑的是一個怎麼樣的審美規律？這關係到創作者的理念，而與臺灣藝文界的整體氛圍及好尚亦密切關聯。

關鍵字：小劇場、實驗崑劇、1/2Q劇團、蘭庭崑劇團。

Exquisite Neoclassicism in the Little Theatre:

The Elegance and Originality of Experimental Kunqu in Taiwan

Abstract

In the years between 2004 and 2007, there appeared five experimental Kunqu pieces presented by “the little theatre” in Taiwan: Willow Dreams of Plum (April 2004), Portrait of Love (May 2005), Boat Fantasy for Mona Lisa (Sept. 2006), Nanke Story (Dec. 2006) and Quest for the Garden Saunter and the Interrupted Dream (May 2007). The first four were directed by Tai Chun-Fang and acted by Yang Han-Ru. With the help of installation artist Shy Gong, these plays aimed to search for a style through various explorations. The fifth, staged by Lan Ting Kunqu Opera Troupe, was directed and acted by Wen Yu-Hang. The production tried to integrate Chinese classicism with an historic cite rich with Taiwan flavor, resulting in something both new and inspiring.

One characteristic shared by these productions is: while the exquisiteness of Kunqu is preserved, a touch of contemporaneity is installed. Through spatial design and arrangements, “modernness” is emphasized without shortchanging the essence of Kunqu in terms of precision and beauty in performance. The actors are first class and the innovative texts are relatively profound. Though all five pieces are not new plays per se, they are engaged in a kind of dialogism with their originals through collage, editing and modifications.

Perhaps the phenomenon could be seen as the way Kunqu is disseminated in modern days by transplanting “Tang-huei Xi” (professional troupes playing before royal families) to contemporary little theatre. Both belong to a small theatre for a limited audience. By combining the exquisiteness of “Tang-huei Xi” with the experimental spirit of little theatre, something brand new in content and style is created. Though these productions are absolutely delightful, some questions need to be asked: What have they accomplished? What artistic possibilities have been created? What kind of new aesthetic standards have been formed? All these questions have to do with the creators’ conceptions but they are also related to recent trends in the artistic circles in Taiwan.

（紀蔚然譯）

Key words: little theatre, experimental Kunqu, 1/2Q Theatre, Lanting Kun Opera Troupe.