【北藝學院 構作與創作開放課程】楊莉莉：認識法國戲劇

放眼世界劇壇，法國獨領風騷。成立於1680年的「法蘭西喜劇院」為西方最古老的國家劇院，而且與時並進，至今仍舉足輕重，一如在17世紀，法國戲劇創作與理論為全歐立下典範，風靡了一個世紀之久。

您是否想進一步了解法國戲劇的來龍與去脈，認識重要的劇作家、導演與舞台設計師？

「法國劇場面面觀」濃縮法國戲劇的菁華，從新古典主義時期談起，至今日的戲劇創作潮流，重點將置於1950年代至今的藝文政策、劇場生態、表導演潮流、獨具一格的劇作家以及風雲導演。「展讀經典劇」，以法蘭西喜劇院近兩年最賣座的戲—莫理哀的《守財奴》為例，帶領學員領略讀劇之樂，需知戲劇作為西方四大文類史詩、小說、散文之外的一大文類，劇本不是只能在劇院看，也能在家中讀。最後，以「歐陸的戲劇顧問」為題旨，探討「從解析劇本過渡到舞台表演的工作」，並以《守財奴》的演出為例作為說明。

這三個講座各自獨立又互相關連，相信可增進大眾對法國文藝的認知。

系列一：法國劇場面面觀

法國現代劇場以導演出名，與英美劇場不同，法國觀眾上劇院看戲，多數時候並非挑劇本看，而是挑選心儀的導演。楊莉莉老師將簡述法國戲劇史，說明20世紀至今的劇場生態、表導演走向、文藝政策、公立劇院的結構與近年碰到的危機。而後進入劇場藝術領域，介紹20世紀下半葉的三大劇作家，以及現代劇場的靈魂人物 — 導演，以期掌握「古劇今演」的意義。

8/5（二）： 法國當代戲劇與劇場

回顧新古典主義時期至19世紀的戲劇創作潮流，著重與法國戲劇史密切相關的「法蘭西喜劇院」之成立及運作基礎，而後進入主題1950年代至今的藝文政策、廣設公立劇院的理想及表導演潮流。接著介紹當代三大劇作家維納韋爾（Michel Vinaver）、戈爾德思（Bernard-Marie Koltès）與拉高斯（Jean-Luc Lagarce）獨出機杼的文風。

8/12（二）：「導演劇場」的黃金時代

解析1970年至1990年間的風雲導演，兼論「古劇今演」牽涉的問題：從亞維儂藝術節最初劇展形式的創辦人尚．維拉（Jean Vilar）談起，續接普朗松（Roger Planchon，里昂國立人民劇院總監）、薛侯（Patrice Chéreau，亞曼第埃劇院總監）、維德志（Antoine Vitez，歷任易符里社區劇場、夏佑國家劇院總監、法蘭西喜劇院總裁等要職）、梅士吉虛（Daniel Mesguich，巴黎高等戲劇學院院長）、莫努虛金（Ariane Mnouchkine，陽光劇團總監）等人。

8/19（二）：新世代導演登場

21世紀的戲劇生態丕變，將探討新世代導演的共同特質、導戲的傾向以及方法。特別剖析布隆胥韋（Stéphane Braunschweig，歷任史特拉斯堡國家劇院、柯林國家劇院、奧德翁國家劇院總監等要職）、諾德（Stanislas Nordey 曾任史特拉斯堡國家劇院總監）、波墨拉（Joël Pommerat，劇作家導演）、包貝（David Bobée，里爾北方劇院總監）、馬肯（Vincent Macaigne，前衛導演）等人之作。無論是對文本的態度與解讀，或是視覺設計，新世代導演各具風格與原則，展現出獨特的創作特色，為當代法國劇場注入嶄新活力。

系列二：展讀經典劇：莫理哀《守財奴》  （展讀經典劇並未單場販售，一系列三場講座售價為999元（含劇本書)）

莫理哀為法國人最喜愛的古典劇作家，從法國戲劇殿堂––法蘭西喜劇院，被暱稱為「莫理哀之家」，即可見其受到歡迎的程度。從2022年至今，莫理哀寫的《守財奴》是法蘭西喜劇院最賣座的作品，每次重演都一票難求。

本講座將以此劇為主題，講述莫理哀身兼劇團團主、劇作家、導演以及名演員的傳奇生涯和五大類創作，接著以楊莉莉老師新譯的《守財奴》為本，引導聽眾閱讀一齣劇本，認識莫理哀編劇獨到之處，從而領略到讀劇的樂趣。戲劇學者柯爾泛（Michel Corvin）研究1970至1990年間重要的莫劇演出，即曾言不執導莫理哀，可說不足以稱為導演；將莫劇搬上舞台，儼然成為導演展現個人戲劇美學、標示意識形態的大好時機。

8/26（二）： 展讀經典劇：莫理哀的《守財奴》I

從何謂「經典」論起，闡述閱讀經典之重要，接著進入主題，講述莫理哀的生平與創作、對喜劇的看法、個人的表演絕活。導讀《守財奴》第一幕：言情小說開場，借用義大利「假面喜劇」的情節與套路、劇情動作發軔。

9/2（二）：展讀經典劇：莫理哀的《守財奴》II

導讀《守財奴》第二與三幕，分析人物塑造、喜劇對白與套路、劇本主題歷史背景與發展、表演的問題，將搭配精彩演出作為說明。

9/9（二）： 展讀經典劇：莫理哀的《守財奴》III

導讀《守財奴》第四與五幕，解析劇情轉折，以及超現實的結局，最後分析莫理哀劇中笑聲的本質與用意。

系列三：歐陸的「戲劇顧問」（Dramaturg）

近年來在西方戲劇研究和表演領域很熱門的一個關鍵字是Dramaturg，國內通常譯為「戲劇顧問」，此字和其相關字眼dramaturgy，原指「編劇藝術」，後延伸為「編劇理論」、「戲劇評論」、「劇作分析」（「戲劇構作」，中國譯文）等義，最後一義「分析劇作」為戲劇顧問的要務，指涉的是「從解析劇本過渡到舞台表演的工作」。將探討從布雷希特以降劇本分析的方法、缺失與隱憂，以及法國戲劇顧問工作的方式，最後論及今日舞台演出人員面對排演劇本的態度。

9/16（二）：歐陸的戲劇顧問

闡明「戲劇顧問」在法國與德國的工作範圍、此職受到重視的背景、布雷希特的啟發與影響、如何介入舞台演出、和導演工作的模式，側重「從解析劇本過度到舞台演出過程的思維」涉及的工作內容。

9/23（二）：從分析劇本過渡到舞台表演的思維：以《守財奴》演出為例

以講座系列二展讀的《守財奴》為例，解說本劇的表演史，著重當代舞台演出詮釋的觀點、立場與表演策略，將搭配精彩的演出片段作為說明。在了解《守財奴》一劇的演出後，最後論及莫理哀最著名的《偽君子》之表演思維。

【北藝學院 2025構作與創作秋季課程】學員徵選，14堂講座與8堂工作坊4,500元（含保證金 2,000 元，全程參與者將全額退還保證金）

▶報名連結

講者｜楊莉莉

臺灣大學外文系學士，美國威斯康辛大學戲劇碩士，法國巴黎第八大學戲劇博士。曾任教於清華大學外文系、臺北藝術大學戲劇系。研究領域含戲劇導演、表演分析、法國戲劇、西方戲劇文學與理論。出版多部戲劇專書，包含全球首部法國戲劇導演安端．維德志研究專著：《向不可能挑戰：法國戲劇導演安端．維德志1970年代》（2012）、《再創夏佑國家劇院的光輝：法國戲劇導演安端．維德志1980年代》（2017）、《探索克羅岱爾《緞子鞋》之深諦》（2020）以及《開創未來的記憶：法國戲劇導演安端．維德志1990年代》（2025）四書。21世紀法國導演研究：《新世代的法國戲劇導演：從史基亞瑞堤到波默拉》（2014）。歐陸當代劇創研究：《歐陸編劇新視野：從莎侯特至維納韋爾》（2008）。翻譯劇作：《戈爾德思劇作選》（1997）、《時間與房間》（史特勞斯，2000）、《經典譯注：費加洛的婚禮》（博瑪榭，2021）和《經典譯注：守財奴》（莫理哀，2016）等。

主辦單位｜臺北表演藝術中心

贊助單位｜光寶科技

France holds a unique place in the theatre world. Back to the 17th century, French playwriting and dramatic theories have helped shape Continental theatre and continued to exert considerable influence for a century long. Adapting with the times while maintaining its heritage, the Comédie-Française, founded in 1680 thus the oldest national theatre in the world, still remains relevant today.

These three lecture series are great opportunities to discover the key milestones in the development of French theatre, along with influential playwrights, directors, and stage designers. 

“French Theatre: A Kaleidoscope” explores the essence of French theatre and drama, from the Neoclassical period to the 21st century, focusing on cultural policies, theatre ecosystem, currents of mise en scène, distinctive playwrights, and influential directors from the 1950s to today. 

Moliere’s L’Avare (The Miser) will be the focus of the “Reading Classic Plays” series. This has been the most popular play at Comédie-Française in the past two years. Professor Yang will guide the participants to read a classical drama. As drama is one of the four major Western literary genres, in addition to epic, novels, and proses, plays are not only meant to be presented on the theatre stage but also to be read at home. The pleasure of reading plays will be the fruit of this series of lectures. 

Finally, the series of “Dramaturgs of Europe” will expound the tasks of Dramaturg on the Continent, following the concrete work of “transitioning from play analysis to stage performance” (i.e. “dramaturgy”) with remarkable productions of L’Avare as examples. 

These three lecture series are independent, but interrelated, and are expected to enhance the understanding of French literary and theatrical life.

Series 1: French Theatre: A Kaleidoscope

The prominence of modern French theatre lies largely in its mises en scène. Unlike in the UK and North America, French audiences are primarily drawn by the vision and talent of the director. Professor Yang will focus on modern French theatre, covering its history, ecosystem, trends of mise en scène, cultural policies, structures of public theatres, and the crises it has faced in recent years. Then, she will introduce three major playwrights of the second half of the 20th century. The second and third lectures of this series will be devoted to the soul of modern theatre – the directors, whose constant mises en scène of classical dramas have generated new appreciations for contemporary spectators.

8/5 (Tue.): Contemporary French Drama and Theatre

In this session, we will briefly review the theatrical currents from the Neoclassical period through the 19th century, with particular focus on the founding and operational structure of Comédie-Française, the cornerstone in the history of French theatre. It will then point out the modern developments, including cultural policies, the ideals underpinning the establishment of public theatres, and the evolving tendencies in performance from the 1950s to the present. With this broad background in mind, we will learn the original writing styles of three major contemporary playwrights, Michel Vinaver, Bernard-Marie Koltès, and Jean-Luc Lagarce. 

8/12 (Tue.): The Golden Age of Theatre Directors

Influential directors from 1970 to 1990 will be introduced followed by a reflection of the challenges involved in directing classic plays on contemporary stages: from Jean Vilar who founded the Avignon Festival to Roger Planchon (then director of the Théâtre National Populaire), Patrice Chéreau (then director of Théâtre Nanterre-Amandiers), Antoine Vitez (former director of Théâtre des Quartiers d'Ivry, amd Théâtre national de Chaillot, general administrator of Comédie-Française), Daniel Mesguich (former dean of the Conservatoire National Supérieur d’Art Dramatique) and Ariane Mnouchkine (director of Le Théâtre du Soleil). 

8/19 (Tue.): New-Generation Directors

Dramatic changes happened in the theatre of the 21st century. This session will probe the common characteristics of new-generation directors. In particular, the works of Stéphane Braunschweig (former director of Théâtre National de Strasbourg, Théâtre National de la Colline, and Odéon-Théâtre de l’Europe); Stanislas Nordey (former director of Théâtre National de Strasbourg); Joël Pommerat (playwright-director); David Bobée (director of Théâtre du Nord); and Vincent Macaigne (avant-garde director) will be analyzed. Whether through their attitude toward the text, their interpretation, or their approach to visual design, new-generation directors express innovative aesthetics and contribute to revitalize French theatre. 

Series 2: Reading Classic Plays: Moliere’s L’Avare( Tickets are sold as a package of three sessions for NT$1,000 (including reading materials).)

Moliere is France’s most beloved classical dramatist. His popularity is reflected in the nickname given to France’s most prestigious theatre - Comédie-Française – “ House of Molière.” Since 2022, Moliere’s L’Avare  has been the best-selling play at Comédie-Française, with tickets hard to come by for its performances. 

After an introduction to Molière’s legendary career, as head of a theatre company, playwright, director and actor, Professor Yang will lead the participants to read closely this famous classic through her new translation. Molière’s genius as a master of comedy will be revealed at the end of lectures. Theatre scholar Michel Corvin, studying the important productions of Moliere’s plays between 1970 and 1990 in France, once said that a director could hardly call him/herself a director unless he/she had directed a play by Moliere. Bringing Moliere’s plays to the stage provides occasions for directors to expose their personal theatrical aesthetics and ideologies. 

8/26 (Tue.): Reading Classic Plays: Moliere’s L’Avare, I

Starting from the meaning of “classic,” Professor Yang will pinpoint the importance of reading the classics today. Then she will explicate the neoclassical playwriting codes, following Moliere’s life, works, views on comedy and his signature performance style. The reading of Act 1 of L’Avare will cover the romance novel-like opening, the initiating dramatic action, Molière’s appropriation of lazzi from Italian commedia dell'arte, together with the subject of avarice and practice of usury in the 17th century. 

9/2 (Tue.): Reading Classic Plays: Moliere’s L’Avare, II

Reading of acts 2 and 3, with analysis of the characters, theme, dialogue and comic techniques, consideration of staging, accompanied by DVD clips of outstanding mises en scène. 

9/9 (Tue.): Reading Classic Plays: Moliere’s L’Avare, III

Reading of acts 4 and 5, with analysis of the plot, its climax and surrealistic denouement. In the end, the nature and purpose of laughter in Moliere’s plays will be examined.

Series 3: Dramaturgs of Continent

In recent years, a popular keyword has emerged in the fields of Western theatre research - dramaturg. In Taiwan, this term is usually translated as “drama consultant.” This and its related word “dramaturgy” originally referred to “playwriting art.” This was later extended to include playwriting theory, theatre criticism, and play analysis (referred to in mainland China as “drama composition”). The last part, play analysis, is the main task of dramaturgs, whose works should finally lead to performance. This series will elucidate the evolution of plot analysis from Bertolt Brecht onward. 

9/16 (Tue.): Dramaturgs on the Continent

Professor Yang will explain the scope of work of dramaturgs in France and Germany,  and examine the reasons this role holds such significance in each context. The lecture will also cover Brecht’s inspiration and influence on dramaturgy, as well as how dramaturgs contribute to the scenic realization of a project. Special attention  will  be  given to the dramaturg’s involvement throughout the process – from play analysis to its staging.  

9/23 (Tue.): The Transitioning from Play Analysis to Stage Performance: Staging L’Avare

Taking L’Avare as an example, the second session of this lecture series will explore the play’s production history, with a focus on contemporary interpretations, directorial approaches, and staging strategies. Selected video clips of notable theatrical representations will be shown for illustrations. After gaining a deeper comprehension of L’Avare in performance, this session will conclude with a concise illumination of the performance mindset behind Moliere’s most celebrated drama, Tartuffe (The Hypocrite).

【Speakers Introduction】

Lecturer｜Lilly Yang

Lilly Yang received a Bachelor’s degree from National Taiwan University’s Department of Foreign Languages and Literatures, a Master’s Degree from the Department of Theatre and Drama at the University of Wisconsin in the US, and a doctorate in Theatre from Paris 8 University in France. She had taught in the Department of Foreign Languages & Literature at National Tsing Hua University and the School of Theatre at Taipei National University of the Arts. Her research interests include mise en scène, performance analysis, and French theatre. She is the author of numerous books, including Challenging the Impossible: French Theatre Director Antoine Vitez in the 1970s (2012); Reestablishing the Glory of Chaillot National Theatre:French Theatre Director Antoine Vitez in the 1980s (2017); Exploring the Profundity of Paul Claudel’sSoulier de satin (2020); and Creating Memories for the Future: French Theatre Director Antoine Vitez in the 1990s (2025). These works constitute the first in-depth scholarly monographs on Antoine Vitez. Her research on French directors of the 21st century appears in New Generation of French Theatre Directors: From Christian Schiaretti to Joel Pommerat (2014), while her research on contemporary Continental dramaturgy has been published in New Perspectives of Playwriting on the Continent (2008). She has also translated a number of plays including Selected plays of Bernard-Marie Koltès (1997); Die Zeit und das Zimmer (Time and the Room) (Botho Strauss, 2002); The Marriage de Figaro (Caron de Beaumarchais, 2021); and L’Avare (The Miser) (Moliere, 2016). 

◎課程全長約120分鐘，無中場休息。
◎系列二：展讀經典劇無單堂販售，購買請選「展讀經典劇套票」999元（含劇本書) 。
◎本活動全程進行平面及影像紀錄，報名即同意主辦單位取得活動影像拍攝肖像權。