Dancing with the Literature Giants A journey to literature theatre of the Spring Breeze

• Main Authors: Chen Whei -Chuan, 陳惠娟
• Other Authors: Lu, Ming -Te
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/80481679210953247808

碩士 === 國立高雄師範大學 === 跨領域藝術研究所 === 101 === ABSTRACT The creation of literature theater is no easy job. You have to work on the choice of literary works to adapt; however, script writing is the soul in the whole process. To avoid destroying and chopping the original in the past, Spring Breeze wants to re-emphasize the importance of the script-writing when adapting the master writers’ works. We do not want the original to overshadow or overrule the theatric script. By breaking away from the narrative structure, we attempt to bring it alive in the dramatic structure . The project of this literary creation adapted works respectively by Shih-Tao Yeh, Li-Ho Chung and Chien-Ho Yang, great literary figures survived both Japanese Reign and Chang Kai-Shek Regime. Part I of this tri-ology is “Mr. Chien, ” with the plot adapted from Shih-Tao Yeh’s autobiographical novel “ Taiwanese Man Chien, A-Tao, “ with the theme of oppression; Part II is “Forest Fire,”with the plot adapted from Li-Ho Chung’s work “ Forest Fire” from the “Home series.”The theme of threatening from a woman’s viewpoint instead of a man’s , replaced the internal reflection of the author toward life. Part III and the last is “No Dancing Alone”, adapted from Chien-Ho Yang’ work “In Blossom,” however with an effort to transform the original plot. The anxiety of the anti-social rebellious young heart of an eighteen-year-old hero is transformed and embedded into the heroine’s, Grandma Ho’s dream with the background of the martial law in 1987 : her eighteen-year-old granddaughter is unmarried pregnant and earns no mercy from the society. Within this theatrical creation, “No Dancing Alone” differs from “Mr. Chien ” and “ Forest Fire” in structure. The latter is portrayed with the narrative structure while the first with dual tracks: the plot with the granddaughter is portrayed by means of realistic narrative structure, while the Grandma Ho’s dreamde-constructive structure, in hope to interweave the real and the non-real into the sur-real theatric performance.