A Study of Intercultural Adaptation in Taiwan Contemporary Theatre(2000-2009)

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 woul...

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Main Authors: YIN-LUN FANG, 方尹綸
Other Authors: KUANG-SHENG SHIH
Format: Others
Language:zh-TW
Online Access:http://ndltd.ncl.edu.tw/handle/80430592440970356089
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spelling ndltd-TW-098NTUA06090032017-05-14T04:31:32Z http://ndltd.ncl.edu.tw/handle/80430592440970356089 A Study of Intercultural Adaptation in Taiwan Contemporary Theatre(2000-2009) 台灣當代劇場跨文化改編研究(2000-2009) YIN-LUN FANG 方尹綸 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. KUANG-SHENG SHIH 石光生 學位論文 ; thesis 106 zh-TW
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language zh-TW
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description 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.
author2 KUANG-SHENG SHIH
author_facet KUANG-SHENG SHIH
YIN-LUN FANG
方尹綸
author YIN-LUN FANG
方尹綸
spellingShingle YIN-LUN FANG
方尹綸
A Study of Intercultural Adaptation in Taiwan Contemporary Theatre(2000-2009)
author_sort YIN-LUN FANG
title A Study of Intercultural Adaptation in Taiwan Contemporary Theatre(2000-2009)
title_short A Study of Intercultural Adaptation in Taiwan Contemporary Theatre(2000-2009)
title_full A Study of Intercultural Adaptation in Taiwan Contemporary Theatre(2000-2009)
title_fullStr A Study of Intercultural Adaptation in Taiwan Contemporary Theatre(2000-2009)
title_full_unstemmed A Study of Intercultural Adaptation in Taiwan Contemporary Theatre(2000-2009)
title_sort study of intercultural adaptation in taiwan contemporary theatre(2000-2009)
url http://ndltd.ncl.edu.tw/handle/80430592440970356089
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