| Summary: | 碩士 === 國立臺灣大學 === 戲劇學研究所 === 105 === Certain connections can be traced within Taiwanese director Wang Chia-Ming’s multiple theatrical works. For example, the rejection of universal truth, the objection to model answer, and the question of reality in language are all recurring themes in Wang’s theatre. All the beings on Wang’s stage, such as words, languages, props, costumes, lighting, sound and actors’ bodies, are elements to play with. And amongst all of them, “puppetry” is a framework Wang frequently adopts. From 2002’s Listen to me, Please~ till the 2017 now, “marionettes” has been running through Wang’s theatrical productions in various shapes—verbal or acting.
This study aims to discuss the use of puppets in Wang’s theatre. Chapter two entitled “The Development of Puppetry as a Directorial Device” focuses primarily on illustrating Edward Gordon Craig and Tadeusz Kantor’s ideas, in order to discuss how puppet elements are applied to modern theatre by the directors and what effects they may produce amongst spectators. In addition to that, chapter two adopts Hans-Thies Lehmann’ model of postdramatic theatre as well in order to put Wang’s theatre in perspective. Chapter three demarcates the use of puppetry into five sections: “Masks,” “Separation between Body and Voice,” “Body of the ‘Puppet-Actor’,” “Crossover Collaborations with Taiwanese Glove Puppetry (Budaixi),” “Object Theatre” in advance. Then I observe what artist vision Wang has created with the employment of puppets in his theatrical productions like Titus Andronicus, Little (or Xiao-Xiao) in Dōgu, Inside Out: A Tale of Allure and Enchantment and Listen to me, Please~. Chapter four analyzes Wang’s two adaptations of Shakespeare’s Richard III: namely, 2014’s TNUA student production Richard III and His Underground Parking lot and 2015’s R3 —The Life and Death of Richard III at TIFA. In the final chapter I conclude how puppetry relates to Wang’s aesthetic view and what it means to Wang’s theatre. This thesis ends up summarizing the signature of Wang’s theatre with the idea of historic recurrence.
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