[[alternative]]A Case Study on Taiwanese Musical--Based on Farewell Beitou PLUS of Greenray Theatre Company

[[abstract]] 本研究以綠光劇團在2019年演出的《再會吧！北投》PLUS作為研究對象，藉由文本分析、觀劇經驗與對本劇演員方宥心、于子育以及編導吳念真，進行訪談後做相互印證。 臺灣音樂劇發展至今邁向三十五年，本文第二章將音樂劇發展劃分為《棋王》開啟音樂劇的濫觴、20世紀後期以果陀劇場與綠光劇團的作品為大宗、21世紀初期出現以創作音樂劇為主的劇團，到21世紀後臺灣音樂劇的發展盛況；第二小節則討論臺灣音樂劇的流變，故事題材、歌曲選擇、人物語言表現及舞台設計，發展趨近多元，已從最初向西方學習模仿，至今已逐漸成熟並擁有自己的風格。 第三章戲劇探析，以陳明章故鄉北投作為背景，從其地理環境造就特殊文化、陳明章及吳念真的記憶融入本劇，對應北投文化產業的轉型、改變，並羅列分場內容。從角色形象塑造連結到演員，並從親情、愛情、友情角度切入分析劇情，輔以燈光、道具、舞臺布景及服裝設計做討論。第四章在地特色的營造，從文人視角觀察其描繪的北投風貌；從編劇使用的語言、筆法、文字運用等，彰顯在地語言特色；音樂上為戲而作、融入陳明章歷年作品及選擇臺灣經典歌曲，藉歌詞詮釋出臺灣在地音樂特色。 長年製作在地音樂的陳明章與文學創作的吳念真，兩個具有臺灣代表性人物的直接合作，結合在地味道歌曲與劇本，突顯了臺灣音樂劇特色及其意義與價值，劇團從2018年到2019年，一年內擴大規模並改版升級的演出，也為臺灣原創音樂劇立下新標竿。[[abstract]] The subject of the study is Farewell Beitou PLUS of Greenray Theatre Company. The research approaches include text analysis, experience of watching the drama, and interviews of the actors Fang You-Hsin, Yu Tzu-Yu, and director Wu Nien-Jen with a view to getting a perfect picture of the drama. It has been thirty-five years since the emege of Taiwanese musicals. The second chapter is mainly about the transitions of Taiwanese musicals. ”Chess”, the first musical, embodies the beginning of musicals. Then in the late 20th century, the Gotuo Theater and the Green Light Theater had more works of musicals. Later, theaters dedicated to producing musicals popped out. After the 21st century, Taiwanese musicals took off and flourished. The second section discusses the evolution of Taiwanese musicals, including the themes of the story, the selections of songs, the choices of languages of characters’ performance, and the designs of stage, all of which are diversified. It has transformed from simply imitating the West in the beginning into exhibiting its own style. The third chapter focuses on drama analysis, which refers to Chen Ming-Chang's hometown Beitou and the relationship between the geographical environment and the directors’ emotion effect on the creations plus the memories of the directors Chen Ming-Chang and Wu Nien-Jen. From the shaping of the character image to the plot, many of which are analyzed from different perspectives such as family, love and friendship as well as supplemented by lighting, props, stage sets and costume design. The fourth chapter aims at the accumulation of indigenous characteristics. The researcher tries to observe the style and appearance of Beitou from scholar’s perspective, and from the language, brushwork, and words used by screenwriters, we find that the local language characteristics are highlighted. The cooperation between two representative Taiwanese characters, Chen Ming-Chang, who has been producing local music for many years, and Wu Nien-Jen, who has created literature for many years, combined with indigenous songs and scripts, highlights the characteristics and significance and value of Taiwanese musicals. From 2018 to 2019, the performances of the troupe not only expanded and upgraded but also set a new milestone for Taiwan's original musicals