試論現代性與新世紀臺灣新編京劇－－以《金鎖記》、《孟小冬》、《百年戲樓》為觀察對象

Discussion on Modernity and Taiwan's New Peking Opera in the 21st Century—A Case Study on “The Golden Cangue”, “Meng Xiaodong” and “One Hundred Years on Stage”

本文嘗試由現代性概念著手，爬梳大陸、台灣重要學者對於戲曲現代化的相關論述，並試圖以《金鎖記》、《孟小冬》、《百年戲樓》這三個作品為觀察對象，進一步探討分析新世紀新編京劇關於現代性的表現手法與呈現樣貌，探討其重要意義。
《金鎖記》在題材及人物的選取上體現現代感與時代精神，並展現時空虛實交錯的創新手法，使本劇突破了以往戲曲舞台的呈現方式與觀戲經驗。《孟小冬》在敘事結構與表現形式方面開創新局，為新編京劇探索出另一類可能發展途徑，又該劇所體現的抒情視界，顯露出台灣新編京劇的創作思維與方向，開始回歸戲曲本我抒情特性與美感。《百年戲樓》敘事結構脫舊出新，甚具當代意義，而本劇所闡述與建構的自我史觀，實為其本土視角與戲曲的現代性之展現。

Hundred Years on Stage as observation subjects, the study discusses the performance skills and presentation styles of Modernity, and tries to find its crucial meaning in Taiwan’s new Peking Operas of the 21st century.
Due to the modern styles and spirits shown in the theme and characters, as well as the innovative time - space and virtual- real overlapping, The Golden Cangue represented a breakthrough in the performance methods and theater experience of traditional operas. Meng Xiaodong paved a new path for new Peking Opera owing to its innovative narrative structure and performance style. Besides, the lyric in the opera indicate the ideas and directions of Taiwan’s new Peking Opera creation have begun to return to the original features and aesthetics of lyrics in traditional operas. The narrative structure of One Hundred Years on Stage is innovative and modernized. The historical viewpoint on selfhood expressed and formed in the opera is a presentation of both local views and the modernity of opera.