| 國立中興大學教學大綱 |
| 課程名稱 | (中) 表演政治(8030) | ||||||||
| (Eng.) Performance and Politics | |||||||||
| 開課單位 | 跨文化學程 | ||||||||
| 課程類別 | 選修 | 學分 | 3 | 授課教師 | 林華源 等 | ||||
| 選課單位 | 跨文化學程 / 博士班 | 授課使用語言 | 英文 | 英文/EMI | Y | 開課學期 | 1141 | ||
| 課程簡述 | This course is held in conjunction with the “New Directions in Transnational Asian Studies” Speaker Series. It examines the relationship between politics and performance. From the 19th century onwards, the state has developed new technologies to increase its apparatus of control, in colonial as well as post-colonial times. How have theater and performance participated in, colluded with, or resisted the state’s coercive encroachment on its people? Focusing on the global avant-garde, we see how the influences of Bertolt Brecht (Germany), Jerzy Grotowski (Poland), and Augusto Boal (Brazil) have manifested in practitioners across East and Southeast Asia such as Gao Xingjian (China), Stan Lai (Taiwan), Danny Yung (Hong Kong), and Kuo Pao Kun (Singapore). Together these dramatists have enacted resistance performances in their own locales, demonstrating how theatre and performance have always been a part of cultural conduit that has pushed against establish boundaries. | ||||||||
| 先修課程名稱 | |||||||||
| 課程與核心能力關聯配比(%) | 課程目標之教學方法與評量方法 | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 課程目標 | 核心能力 | 配比(%) | 教學方法 | 評量方法 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This is a discussion-based seminar. Each week you will be required to read one or more plays and several secondary sources surrounding these plays. We will engage in close readings of critical texts that introduce the debates surrounding these tensions, theories on performance and cultural identities, on top of reading plays in translation and viewing them online. You are responsible for completing all readings and viewing assignments before coming to class, taking reflective notes in your journal, submitting your i-Learning entries, leading and participating actively in class discussion, and completing a series of writing exercises that will culminate in one final research paper. A reading knowledge of Chinese is not required, but students who are proficient in the language may request for additional readings in Chinese from the instructors and share them with the class during discussion. |
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| 授課內容(單元名稱與內容、習作/每週授課、考試進度-共16週加自主學習) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 學習評量方式 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| • i-Learning posts 20% • Attendance & participation 20% • Writing workshop 10% • Research paper 50% |
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| 教科書＆參考書目(書名、作者、書局、代理商、說明) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Esslin, Martin. 1961. “Introduction: The Absurdity of the Absurd.” The Theatre of the Absurd. New York: Doubleday. xv–xxiv. Quah, Sy Ren. 2004. “Exploration in Action.” Gao Xingjian and Transcultural Chinese Theater. Honolulu: University of Hawaii Press: 55–69. Fong, Gilbert Chee Fun. 2005. “Freedom and Marginality: The Life and Art of Gao Xingjian.” 自由與邊緣性：高行健的生命與藝術. Trans. Shelby Chan Kar-yan. Cold Literature: Selected Works by Gao Xingjian 冷的文學：高行健著作選. (Chinese-English Bilingual Edition). Trans. Gilbert Fong and Mabel Lee. Hong Kong: Chinese University Press. viii–xlx. Grotowski, Jerzy. 1965. “Towards a Poor Theatre.” Odra 9: n.p. Lo, Jacqueline May Lye. 1993. “Theatre in Singapore: Interview with Kuo Pao Kun.” Australasian Drama Studies 23 (Oct): 135–46. Kuo, Pao Kun. 1997. “Between Two Worlds: A Conversation with Kuo Pao Kun.” Nine Lives: Ten Years of Singapore Theatre, 1987–1997. Ed. Krishnan, Sanjay. Singapore: Necessary Stage Ltd. 126–42. Yu, Yun. 2000. “The Soil of Life and the Tree of Art: A Study of Kuo Pao Kun’s Cultural Individuality through his Playwriting.” Trans. Kuo, Jian Hong. Images at the Margins: A Collection of Kuo Pao Kun’s Plays. Singapore: Times Books International. 18–59. Lai, Stan Sheng-chuan. 1990. “The Structuring of Spontaneity: An Assessment and Documentation of Improvisational Creative Methods in the Modern Taiwan Theatre.” Studies in Chinese-Western Comparative Drama. Ed. Luk, Yun-tong. Hong Kong: The Chinese UP, 135–55. Kowallis, Jon Eugene von. 1997. “The Diaspora in Taiwan and Hong Kong Film: Framing Stan Lai’s The Peach Blossom Land with Allen Fong’s Ah Ying.” Transnational Chinese Cinema: Identity, Nationhood, Gender. Ed. Sheldon Lu Hsiao-peng. Honolulu: U of Hawai’i P. 169–76; 182–6. Lai, Stan Sheng-chuan. 2011. “Weaving Local Stories into Epic Theatre: On The Village and the Preservation of Collective Memory.” Lecture at UC Berkeley, Institute of East Asian Studies. Jan. 18. < https://www.youtube.com/watch?v=5rXZW91wbM0 > McJannet, Linda. 2021. “Movement, Music and Silence in Cheek by Jowl’s Measure for Measure, The Winter’s Tale and Périclès, Prince de Tyr.” Shakespeare Jahrbuch, 157: 141–61. Fong, Gilbert Chee Fun. 1992. “‘On the Starting Block’: Recent Developments in Hong Kong Drama.” Performing Arts in Hong Kong: A Decade of Development. Ed. Hong Kong: Council for the Performing Arts. Hong Kong: Council for the Performing Arts, 15–17. Boal, Augusto. 1997. “The Theatre of the Oppressed.” The Unesco Courier 50.11 (Nov): 32–36. Wah Guan Lim. 2024. “Theater of Rebellion: Danny Yung and Experimental Hong Kong Theater.” Denationalizing Identities: The Politics of Performance in the Chinese Diaspora. Ithaca: Cornell University Press, 117–58. Quah, Sy Ren. 2006. “Performing Multilingualism in Singapore.” Between Tongues: Translation and/of/in Performance in Asia. Ed. Lindsay, Jennifer. Singapore: Singapore University Press, 2006. 88–103. Kuo Pao Kun. 2020. “Challenges to Asian Public Intellectuals.” Ed. C.J. Wee Wan-ling. Inter-Asia Cultural Studies 21.2: 199–211. Bryan, Emily. 2020. “Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads. Religions, 11(2), p.100. Liu, Sophia Yashih. 2019. “Performing Intercultural Trauma.” Asian Theatre Journal 36.2: 453–71. |
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| 課程教材（教師個人網址請列在本校內之網址） | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 課程輔導時間 | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| By appointment | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| 聯合國全球永續發展目標(連結網址) | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| 請尊重智慧財產權及性別平等意識，不得非法影印他人著作。 | |
| 更新日期 西元年/月/日：2025/08/13 17:48:46 | 列印日期 西元年/月/日：2025 / 9 / 16 |
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