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「觀世音傳奇」之創作理念、 劇場呈現暨展演技法=“The Legends of Avalokitesvara” – Creation Concepts, Theater Presentations, and Performance Techniques |
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| Author |
黃詩原 (撰)=Huang,Shi-Yuan (compose)
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| Date | 2021 |
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| Pages | 122 |
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| Publisher | 玄奘大學 |
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| Publisher Url |
https://www.hcu.edu.tw/hcu/zh-tw
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| Location | 新竹市, 臺灣 [Hsinchu shih, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | master |
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| Institution | 玄奘大學 |
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| Department | 宗教與文化學系碩士在職專班 |
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| Advisor | 釋昭慧 |
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| Publication year | 109 |
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| Keyword | 千手觀音=Thousand-Hand Guanyin; 佛教劇場=Buddhist Theater; 敦煌舞蹈=Dunhuang Dance; 佛教身韻=Buddhist bodily rhymes; 香山寶卷=Shiangshan Treasure Scroll |
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| Abstract | 本論文「觀世音傳奇」以著名的《香山寶卷》妙善三公主為故事主體開展，進而連結其他觀世音菩薩相關記載及本生故事，融合戲劇、舞蹈、音樂演繹出真善美的佛教劇場。筆者推行「佛教身韻」的技巧與表現，以經典的相法及手印，兼具藝術美感與宗教法用層面，給予佛法與表演不一樣的定義與實際價值。
歷代以來最廣為世人流傳的代表經典，則是「觀世音菩薩普門品」。因為經中記載，菩薩悲願渡眾，依種種眾生，現種種形相，無所不在，無求不應，而且能讓常念恭敬觀音菩薩者，免除種種災難，這正是人們心中最易接受且感動的原因；就是這個特色，自古以來在劇場上，菩薩現身救難、降妖伏魔、利益眾生的劇碼，時時上演，少有缺席。筆者以法師的身分背景，進一步作更深入的研究與創新，依經典教理打造佛教劇場的殊勝真意，能確切落實及表現高層次的佛教藝術文化。此時，舞蹈不再只是舞蹈，而是佛法生命力的激發與傳遞。
另外，千手觀音的部分，則按照《千光眼觀自在菩薩秘密法經》中四十手眼法去開展表現，包含其手印與姿態等；整體舞台、燈光設計，筆者依各類場景搭配，並於內文章節中一一剖析介紹。最後，筆者也以多年來的教學經驗與學生感想回饋做圓滿結尾。
「人生如戲，戲夢人生。」筆者將觀世音菩薩大慈大悲的精神展現在舞台上和觀眾面前，達到佛法傳遞的妙用與真實義。以不一樣的方式和多元的模式去呈現，藉由多年的巡迴公演，與眾生結善緣，並將佛法傳播至每位觀眾的心中。
In this thesis, “the Legend of Avalokitesvara” develops mainly from the famous In this thesis, “the Legend of Avalokitesvara” develops mainly from the famous story “Miaoshan the third Princess” in “Shiangshan Treasure Scroll.” And it is also linked with other Avalokitesvara Bodhisattva-related records and before-enlightened stories. In addition, this kind of Buddhist theater, which combines drama, dance, music, presents truth, goodness, and beauty to the audience. The author promotes the techniques and expressions of “Buddhist bodily rhymes” with classic physiognomy and mudra to integrate artistic aesthetics with religious legal aspects, presenting dif-ferent definitions and practical values to Buddhism and performances.
The most widely circulated representative classic throughout the ages is “the Avalokitesvara Bodhisattva Universal Door.” It has been recorded in the Buddhist scriptures that the Bodhisattva has ever sincerely vowed to save the sentient beings from reincarnation with great mercy. And based on all kinds of necessities, the Bo-dhisattva will turn Himself into various forms to solve every sort of problem. The Bodhisattva not only is omnipresent but also answers for any requests from the sen-tient beings. Furthermore, the Bodhisattva will prevent those who often both recite and respect the sacred name of Guanyin Bodhisattva from all kinds of disasters.
This is why people easily and completely accept the Bodhisattva and feel ex-tremely moved. Besides, it is because of this feature that it is played for a great number of times, including the Bodhisattvas having rescued people from disasters, vanquished demons, and benefited the sentient beings. These dramas have been staged from time to time and rarely have they absent. The author, with the back-ground of a monk, makes further research and innovation and based on the classic Buddhist teachings, the special true meaning of the Buddhist theater is hereby creat-ed, which can accurately implement and express high-level Buddhist arts and cultures. Meanwhile, dance is no longer just dance but the inspiration and transmission through the vitality of Dharma.
What’s more, the part of Avalokitesvara is performed in accordance with “the forty hands-and-eyes” in the “Secret Dharma Sutra of A Thousand-Light-Eye Bodhi-sattva” in order to develop and perform the Buddhist mudras and postures, and so on. According to the different plots various scenes, the author also introduces and ana-lyzes the overall stages and lighting in the passage in turn. At last, the author con-cludes the whole passage with years of teaching experiences and the feedbacks from the students. “Life is like a play and a dream.” The author shows the spirits of
Guanyin Bodhisattva on the stage and in front of the audience to achieve the magical effect and true meaning of the transmission of Buddhism. It is presented in a different way and in a diversified mode. Through years of touring performances, it connects with sentient beings and spreads the Dharma to the heart of every audience. |
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| Table of contents | 目 次
第一章 緒論 1
第一節 創作背景、動機與目的 1
第二節 文獻回顧 3
第三節 創作的架構與理念闡述 7
第二章 「千手觀音」身韻呈現與學理探究 15
第一節 千手觀音意涵及技法概述 15
第二節 千手觀音四十二手眼法之手印學理 20
第三章 「觀世音傳奇」舞台劇之應用體現 35
第一節 劇本架構與內容概述 35
第二節 舞台劇展現方法與技巧 56
第四章 「觀世音傳奇」佛教身韻舞台劇之演出迴響與成果 79
第一節 學員心得與迴響 79
第二節 推廣成果與經驗分享 107
第五章 結論 119
參考文獻 121 |
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| Hits | 357 |
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| Created date | 2021.11.02 |
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| Modified date | 2023.01.06 |
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