| Summary: | 碩士 === 國立成功大學 === 藝術研究所 === 98 === One of the most important works of Taiwan's little theatre in the 1990's, "Baishui," which was directed by Tian Chi-yuan, Critical Point Theater Phenomenon (C.P.T.P.), left several issues worth discussing behind: the innovation and reconstruction of language usage in the script; culture production; theatrical environment and the trend of avant-garde in Little Theatre. Tian Chi-yuan insisted on his own creation, both scripts and directions; C.P.T.P. thus became a rare text-centered theatre at that time. On the other hand, the emphasis on director’s (his) autonomy also brought up a writer-centered theatre versus director-centered theatre controversy on his works. Stage description, which is a main idea derived from director-centered theatre, also became the mainstream in Taiwan’s Little Theatre. However, this trend also caused aesthetic anxiety in the 1990s Taiwan Little Theatre. Following the change of cultural policy, more performance places were released to the society. The lack of aesthetic discussion and a describable style made Little Theatre lose their competitivity at the same time. The issue of validness of theatre form was also brought up with the transposition of interpretive authority on history. C.P.T.P. and Tian’s creations became ambiguous under this circumstance. On the one hand, they didn’t claim for their connections between government’s cultural policy and their own avant-garde style; though on the other hand, they kept receiving official supply and public applause. Furthermore, it helped developing theatrical form of Baishui. However, Lu Po-shen’s version of Baishui was based on a different creative strategy. One is the formalistic stage arrangement; the other is the musical elements of language. Compared Tain’s to Lu’s version, the most important topic while working on the play is about how western theatrical aesthetics to fit in the local style. While examining Lu’s adapting methods, the performing style and actors’ training were not as notable as the audio and visual effects; and the interpretation on script were restricted within the language. However, the stabilization of theatrical style is necessary to Tainanjen Theatre, as they are growing into a medium theatre. Thus, the theatre form both has impact on anxiety of influence and localization while analyzing it via the avant-garde little theatre contexts and the management of contemporary Taiwan theatres.
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