| Summary: | 碩士 === 國立臺南大學 === 戲劇創作與應用學系碩士班 === 103 === This thesis explores the stage techniques and subject matters of two performances K24 and Q&A, which are so-called theatrical plays in the form of epic TV series, a new term created by their writer cum director Pao-Chang Tsia. The first part of this thesis examines how the stage design and blocking in K24 created TV-like effects of simultaneous scenes, multiple perspectives, and the quick transition of time and space. Then I focus on how such an approach to create TV-like effects is replaced with frequent use of images in Q&A, making the stage look like a big screen.
After briefly giving an overview of four noticeable characteristics commonly found in Tsai’ plays, the second part employs various cultural theories to look into the themes and plot development of K24 and Q&A. I adopt some concepts from French philosopher Guy-Ernest Debord ‘s The Society of the Spectacle and American scholar Douglas Kellner’s Media Spectacle to explain the phenomenon of infortainment in K24. In addition, Walter Benjamin’s concept of Flâneur is applied to look at how Liu Yi, the protagonist of Q&A, wanders in foreign cites as well as his memory. Finally, I adopt Judith Butler’s concept of “gender melancholia” and George E. Haggerty’s “erotics of loss” to help understand why there is an overflow of passion and melancholy in Q&A.
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