On Transformation of Performance from Opera to Musical—Taking “Marriage of Figaro” Produced by TNUA for Example.

• Main Authors: Tien-Chien Tsai, 蔡天健
• Other Authors: 林國源
• Format: Others
• Language: en_US
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/72sx8q

碩士 === 國立臺北藝術大學 === 戲劇學系碩士班 === 98 === Opera has a history longer than that of musical. With the change of time, the number of musical goers has surpassed that of the opera goers in terms of age bracket and therefore a great number of classical operas have undergone some transformation and are presented in the form of a musical. In the opera the Marriage of Figaro produced by TNUA, the director adapted it into a musical and I would like to use this as an example to take a closer look into the transformation of performance delivered from an opera to a musical. The Marriage of Figaro was originally written by a French playwright Pierre Beaumarchais (1732-1799) and the theatrical play was subsequently adapted into an opera by Wolfgang Amadeus Mozart and poet Lorenzo da Ponte. The opera was performed in Italian. Taiwanese director Liang Chi-Ming later adapted it into a musical. In the first chapter, the opera’s background, the outline of the plot and the analysis of the play will be explained. In the second part of the thesis, I will go on to provide, one after another, an analysis of the performance space, body movements, voice and speech acts put alongside the original version in an attempt to point out the difference between the two. Lastly, director, actors and performance designers and audience’s thoughts will be presented in order to clarify their interpretations and inspirations of the play which lead to the characteristics of an opera transforming to a musical play.