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Title: 台灣歌仔戲服飾結合西方十八世紀時尚元素之創作 -以薛平貴與王寶釧一劇為例
A Creation of the Costumes of Taiwanese Opera Combined with Western Fashion Elements in 18th Century for The Drama “Xue Ping-Gui and Wang Bao-Chuan”
Authors: 楊智豪
Yang Jyh-Haur
Contributors: Liu Nam-De;Hung Chi-Fang
應用設計研究所
Keywords: 歌仔戲;洛可可;唐代服飾;戲服
Taiwanese Opera;Rococo;Tan dynasty;costume
Date: 2007
Issue Date: 2011-05-26 10:39:39 (UTC+8)
Publisher: 高雄市:[樹德科技大學應用設計研究所]
Abstract: 歌仔戲是台灣土生土長的劇種,具有強大的文化包容力,對於外來文化兼容並蓄的結果,使的歌仔戲所呈現的文化內容更加豐富多采,這種對外來文化的吸收力與包容力也強烈的表現在歌仔戲服裝造型的設計上。然而歌仔戲的服飾造型雖然具有與時並進的生命力,但對於外來文化全盤接收的結果,許多西方舞台服裝造型被直接引用,反而使的歌仔戲服飾漸漸失去原本給人的獨特印象,予觀眾留下「俗氣」的觀感。面對今日人們對於文化「精緻化」的渴求,對於歌仔戲文化是否能夠延續發展,呈現於觀眾面前的第一因素-服裝造型,將成為歌仔戲是否能留住觀眾的重要關鍵。
本研究嘗試以歌仔戲劇目中最為人熟知的「薛平貴與王寶釧」一劇中「薛平貴」「王寶釧」「代戰公主」三位主角造型作為創作主體,進行戲劇服飾造型的創作。鑒於以往演出此劇時服裝造型上時代混淆的情況,試圖回溯「薛」劇原本故事所設定的唐代,透過對唐代當時服裝穿著元素之分析,找出唐代造型的特色與特殊的穿著比例,運用現代的技法,呈現具有唐代風味的戲服,嘗試創作的可能性。此外,由於歌仔戲服裝造型本身對於外來文化獨具包容力,因此本創作研究的另一個重點將放在如何將西方舞台造型元素與歌仔戲服裝造型作合理的結合而不顯突兀。溯及西方舞台服裝鼻祖-十八世紀初期宮廷服飾(洛可可風格),對其整體造型特色加以探討之後,再分別以細部比對的方式,尋求與唐代服裝及歌仔戲服飾在造型部件上可相互轉換運用之可能性。
進行人物服裝造型創作時,以唐代的衣飾穿著比例為基礎,運用西方舞台服飾、唐代服裝與歌仔戲服可相互轉換的關節點為發展血肉,透過造型部件在材質、視覺效果甚至概念上的轉移,使創作出的歌仔戲人物造型不但能具有相當歷史感的唐代風味,也具有西方舞台服裝的流行時尚感。本論文之創作表現即根據此一脈絡,將個人的意念以作品具體呈現,突顯出現代歌仔戲服飾造型獨具的特色與風味。
Taiwanese Opera is a kind of local drama which can always amalgamate other cultures . Because of its special amalgamation of cultures, Taiwanese Opera becomes more and more generous. Of course, we can find this future on costume design. Though the costumes for Taiwanese Opera can take up so much style of other cultures, in fact, it didn’t go on a right way. Costume designers always just “put” some parts of western costumes on Chinese traditional costumes, and create a lot of Opera costumes which were though gaudy, so that we can hardly find the texture in our Taiwanese Opera costumes. Now we have to face the facts that people here aspire to have delicate local culture today. Since costumes is the most elementary factor of how to catch the eyes of the audience for Taiwanese Opera, it plays a very important role of how the Taiwanese opera continue .
The goal of this research is to present a set of costume design for the three main characters~”Xue Ping-Gui”, ”Wang Bao-Chuan” and the princess”Dai-Zhan” in the most famous Taiwanese Opera “Xue Ping-Gui and Wang Bao-Chuan”. According to the enactor about “Xue-Ping Gui and Wang-Bao Chuan” before, we can find that the costumes are dynasty-mixed. In this research, we try to retroject what and how people wear in Tan dynasty, and try to analyze the element of what we call “Tan dynasty wearing style”,so that we can create the costumes that near what people wore in this past dynasty with modern execution. On the other side, France costumes in 18 century (Rococo style) which were called the source of western costumes was also analyzed .So that we can catch its element and compare with those of Tan dynasty and traditional Taiwanese opera, then find the key points for translating.
At the basic wearing proportion of Tan dynasty , we translated each part of the costumes step by step from the element of these three styles in order to present historical and modern costumes for Taiwanese Opera .According to this rule, the personal thinking of costume design was presented with works, and the future of costumes for Taiwanese Opera was emphasized.
Appears in Collections:[應用設計研究所] 博碩士論文

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