Crossing and Eliminating the Aesthetic Boundary-From Brecht to Post-Brechtonian Boal

• Main Authors: Wang Chien-Mong, 王建盟
• Other Authors: Christian J. C. Chou
• Format: Others
• Language: zh-TW
• Published: 2005
• Online Access: http://ndltd.ncl.edu.tw/handle/43408801646115311880

碩士 === 中國文化大學 === 戲劇研究所 === 93 === This thesis is based mainly on the system theory of the “Science of the Theatre Art”, to explore and clarify the essence of theatre constituted by the mind interaction between actors and audiences, and furthermore to discuss the “Aesthetics Boundary” as the biggest success in bourgeoisie aesthetic theories. Utilizing the above as the core of this thesis, I will explore the experiments done by the avant-garde theatre on the aesthetics boundary, according to their levels, methods and approaches, hence dividing them into two major parts, that is “Crossing” and “Eliminating”. The research of this thesis will focus on two masters in the 20th century political theatre, which are Bertolt Brecht and the Post-Brechtonians’ Augosto Boal. Their aim in theatre practices was to utilize theatre as a tool to undergo social revolution. While Brecht developed theories such as “Epic Theatre” and “Zuschaukunst (German)” to initiate revolution within theatre and experimented on what were beyond the aesthetics boundary, Boal developed his theory on “Theatre of the Oppressed” to initiate revolution outside the theatre and experimented on the elimination of aesthetics boundaries. This thesis will consider the advantages and disadvantages of both their theories, while simultaneously elucidate the importance of professionalism in the theatre.