相声剧中的反思议题 ：以《东厂仅一位》为例 = Topics in stand-up comedy : a case study on “The Last One of Ming dynasty”

• Main Author: 杨凯威 Yeong, Hoi Wai
• Other Authors: Crossland-Guo Shuyun
• Format: Final Year Project
• Language: Chinese
• Published: 2014
• Subjects: DRNTU::Humanities::Literature::Chinese
• Online Access: http://hdl.handle.net/10356/55635
• Institution: Nanyang Technological University

发迹于晚清北京的说唱艺术——相声，在台湾经历了盛行与死亡。在20世纪80年代，一出舞台剧《那一夜，我们说相声》救活了台湾相声，衍生出结合了相声与戏剧的新剧种——“相声剧”。剧团“相声瓦舍”也由此诞生，成为台湾唯一专门创作相声剧作品的剧团，带动台湾二十年的相声文化。本文的重点在于分析相声瓦舍于2001年的相声剧作品《东厂仅一位》。《东厂仅一位》是瓦舍的经典作品之一，也是瓦舍进军大陆，到中国演出的第一部作品。本文将通过整理前人的研究，分析文本的结构及内容中的隐喻，找出其带有反思性的核心议题及戏剧成分的价值。Xiangsheng (commonly known as Crosstalk in English), a Chinese folk art performance originated in Beijing, China during the late Qing Dynasty, experience blooming and death in Taiwan. In 1980’s, a theater performance “The Night We Became Hsiang Sheng Comedians” brought Xiangsheng back to life again in Taiwan, and came into a new being called “Stand-up Comedy”, which contain both Xiangsheng and theater art element. The Comedian Workshop was formed in this era and become the theatrical company which famous on only having Stand-up Comedy as their works. They have been driving the culture of Xiangsheng in Taiwan for the past 20 years. This thesis is a case study on Comedian Workshop’s work “The Last One of Ming Dynasty”, which performed on year 2001. It is one of the famous works by Comedian Workshop and being performed again as their first performance in China lately. This thesis will point out the topics of the work and the values of the theater art element by collating some researchers’ theses and study the composition and metaphors in the script.