| Summary: | 碩士 === 國立臺灣藝術大學 === 戲劇與劇場應用學系 === 98 === The major object of this study is focusing on the contemporary works of intercultural adaptation in Taiwan. First at all, lay out the world intercultural theatre as background, and discuss the history of intercultural adaptation in Taiwan. And further, I would analyze the present situation and the characteristics of intercultural adaptations in Taiwan. In conclusion, I would employ Partice Pavis’ theory of intercultural theatre as a vehicle to analyze and compare the three categories of intercultural adaptations.
The intercultural adaptation has become a kind of popular creation method in Taiwan. Apart from retaining characteristics and primary intention, an excellent work of intercultural adaptation cannot be achieved without the trials of actors, the audience, and the readability of the adaptation. This thesis tries to find the connection of “the original works, the creativity, and the audience” from adapter’s main considerations and concepts after analyzing and comparing the three categories of intercultural adaptations. The adapter’s decisive degrees of these three categories will affect the main direction in any works of intercultural adaptation.
This study begins with the “background”, “course”, and “work” of intercultural adaptation in Taiwan, then tries to find out the position of the intercultural adaptation in the contemporary theatre. Moreover, based upon this position, I have to find the important significance of the “original/reorganization” in the contemporary theatre. Under the impacts of “globalization”, I insist that “creativity” appears more important especially in this modern culture system. In conclusion, I have to emphasize that independent creativity and cultural approval should not be ignored in intercultural adaptations.
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