本課程主要內容包括：舞台管理學、戲曲傳統表演技法練習、戲曲傳統表演技法原則解析，培養學生實務策劃能力，學生分別以個人專業學群之主修專業技法，組成演出工作團隊。在學習戲曲傳統表演技法練習中，運用劇場人類學技法觀點，分析戲曲傳統表演技法原則，使理論與實務結合，啟發學生思考及運用能力。
經由師生共同討論劇目與創作《天命》、《四杰村》、《祈島》劇目，經過表演技法原則、創作概念教授。透過製作各項工作分組的實踐，培養學生藝術創新與整合應用能力以及溝通協調之團隊合作能力，進而製作出傳統表現技法內涵之表演藝術創作作品。
Drama Production (b)
Contents:
The contents of the course include the stage management, traditional drama techniques for the practicing and performing, the resolution and analysis of the traditional opera performance techniques and principles, and cultivating the ability of the practical planning. The students organize the work teams of performance by their personal major of the professional learning group. The thinking and skills of those students will be stimulated by applying the technical Viewpoint of Drama anthropology and analyzing the principles of the traditional opera performance techniques to combine the theory and practice during the learning of the traditional opera performance techniques.
By way of creative works made by teachers and students, and through the various practices of work grouping, the students’ artistic innovation and the capabilities of the integrated application, the communication and coordination of the teamwork are cultivated, and thus, the performing artistic creations with the connotations are produced.
經由師生共同討論劇目與創作《天命》、《四杰村》、《祈島》劇目，經過表演技法原則、創作概念教授。透過製作各項工作分組的實踐，培養學生藝術創新與整合應用能力以及溝通協調之團隊合作能力，進而製作出傳統表現技法內涵之表演藝術創作作品。
Drama Production (b)
Contents:
The contents of the course include the stage management, traditional drama techniques for the practicing and performing, the resolution and analysis of the traditional opera performance techniques and principles, and cultivating the ability of the practical planning. The students organize the work teams of performance by their personal major of the professional learning group. The thinking and skills of those students will be stimulated by applying the technical Viewpoint of Drama anthropology and analyzing the principles of the traditional opera performance techniques to combine the theory and practice during the learning of the traditional opera performance techniques.
By way of creative works made by teachers and students, and through the various practices of work grouping, the students’ artistic innovation and the capabilities of the integrated application, the communication and coordination of the teamwork are cultivated, and thus, the performing artistic creations with the connotations are produced.
- Teacher: 劉稀榮
本課程內容以講述與練習戲曲表演技法及京劇《金鎖記-選段》、《王熙鳳-選段》、《弼馬溫-選段》、《白蛇傳遊湖借傘-選段》介紹後，經師生討論作為班級演出呈現。
學生自行創作劇本，經與老師討論、解析、人物解析，分場架構討論後，訂定表現風格及表演技法。全班學生分別以個人專業學群之主修專業技法組成 編修組、導演組、演員組、製作組、行銷組、舞台技術（包括紀錄組）組六組分工，以學生導演主導，學生演出經理輔助進行各組協調與訂定進度掌控。
班級呈現演出分成前製期、排演期、演出期、後製期四階段進行，前製期包括劇本選定、分析劇本、編修劇本、人物分析、演員甄選、設計討論、製作工作分析、排演場地申請、排演進度表訂定等，排演期包括讀劇、對詞、拉地位、磨戲、順排、服裝製作、道具製作、舞美設計等，演出期包括整排、定裝彩排、彩排、技排到演出等，後製期包括帳目報銷、缺失修正討論、影像記錄剪輯等。作為務實的四學群技法之初級設計與練習。
各學群之四階段製作演出之工作實習當中，由負責老師作監督、修正，一直到正式演出結束為教學內容。學生將通過正式演出之期末學習考核，達到專業製作演出初級能力之完整要求與驗收。
The contents of this course consist of studying and practicing the opera performance techniques and introducing two comedy scripts of Chinese traditional opera ---- “Da-Chung-Huang”(Beating Gods) and “Shuang-Bei-Dung” (Two Henpecked Men). By discussing the scripts of comedy, the teacher and the students should choose one of them to present as a class performance.
After analyzing and discussing the script, characters and the structures of the segmentations, the teacher and students should establish the performance style and performance techniques. All the students of the class consist of six groups by their personal major of the professional learning group. Those are the groups of the editing techniques, directors, actors, production, marketing and stage technology (including the group of the record). The group of the students is the leader. The performance manager of the students assists and coordinates with groups to control and set the schedule.
The whole performance of the class is divided into four periods. Those are pre-production, rehearsal, the performance period, and the post-production. The period of the pre-production includes the script selected, analyzed, edited, characters analysis ,actors selection, design discussion, production work analysis, applying for rehearsal place, setting the rehearsal schedule. The period of rehearsal includes reading the script, rehearsing the dialogues of script, arranging the positions, grinding play, arranging the orders, costume making, stage property making, stage design. The period of the performance includes rehearsing orders, fixing the costume and makeup, rehearsal, rehearsing the techniques, and performance. The period of the post-production includes submitting the expense account, discussing and correcting the shortcoming, editing the recording of images. Those four techniques study groups are the practical primary design and exercises.
The contents of the teaching are the processes of the practical training that produce performance during each of the four study group periods that the teacher is responsible for the supervision and correction, until the end of the formal performance. The students will be examined through the formal performance as the final examination to achieve the complete requirements and acceptance of the primary ability of the professional production and performance.
學生自行創作劇本，經與老師討論、解析、人物解析，分場架構討論後，訂定表現風格及表演技法。全班學生分別以個人專業學群之主修專業技法組成 編修組、導演組、演員組、製作組、行銷組、舞台技術（包括紀錄組）組六組分工，以學生導演主導，學生演出經理輔助進行各組協調與訂定進度掌控。
班級呈現演出分成前製期、排演期、演出期、後製期四階段進行，前製期包括劇本選定、分析劇本、編修劇本、人物分析、演員甄選、設計討論、製作工作分析、排演場地申請、排演進度表訂定等，排演期包括讀劇、對詞、拉地位、磨戲、順排、服裝製作、道具製作、舞美設計等，演出期包括整排、定裝彩排、彩排、技排到演出等，後製期包括帳目報銷、缺失修正討論、影像記錄剪輯等。作為務實的四學群技法之初級設計與練習。
各學群之四階段製作演出之工作實習當中，由負責老師作監督、修正，一直到正式演出結束為教學內容。學生將通過正式演出之期末學習考核，達到專業製作演出初級能力之完整要求與驗收。
The contents of this course consist of studying and practicing the opera performance techniques and introducing two comedy scripts of Chinese traditional opera ---- “Da-Chung-Huang”(Beating Gods) and “Shuang-Bei-Dung” (Two Henpecked Men). By discussing the scripts of comedy, the teacher and the students should choose one of them to present as a class performance.
After analyzing and discussing the script, characters and the structures of the segmentations, the teacher and students should establish the performance style and performance techniques. All the students of the class consist of six groups by their personal major of the professional learning group. Those are the groups of the editing techniques, directors, actors, production, marketing and stage technology (including the group of the record). The group of the students is the leader. The performance manager of the students assists and coordinates with groups to control and set the schedule.
The whole performance of the class is divided into four periods. Those are pre-production, rehearsal, the performance period, and the post-production. The period of the pre-production includes the script selected, analyzed, edited, characters analysis ,actors selection, design discussion, production work analysis, applying for rehearsal place, setting the rehearsal schedule. The period of rehearsal includes reading the script, rehearsing the dialogues of script, arranging the positions, grinding play, arranging the orders, costume making, stage property making, stage design. The period of the performance includes rehearsing orders, fixing the costume and makeup, rehearsal, rehearsing the techniques, and performance. The period of the post-production includes submitting the expense account, discussing and correcting the shortcoming, editing the recording of images. Those four techniques study groups are the practical primary design and exercises.
The contents of the teaching are the processes of the practical training that produce performance during each of the four study group periods that the teacher is responsible for the supervision and correction, until the end of the formal performance. The students will be examined through the formal performance as the final examination to achieve the complete requirements and acceptance of the primary ability of the professional production and performance.
- Teacher: 劉稀榮
本課程以教授京劇聲腔為主要內容，透過京劇聲腔源流、腔體、板式的講解介紹，使學習者了解京劇聲腔的特徵。以及講解與教授京劇發聲方式與老生、花旦、文淨念唱段落練習，使學習者學會老生、花旦、淨角的唱、念聲音方式，以自己嗓音的優勢，做適當選擇，學習聲腔唱念，並產生敘事抒情的演唱經驗，增進敘事抒情的聲音表現能力。
This course focuses on teaching the sound of the Peking Opera. Through the introduction of the vocal origins, cavities and plates of the Peking Opera, the learners can understand the characteristics of the Peking opera sound cavity. As well as explaining and teaching the Peking Opera vocalization method and the four major activities of the Universe, the vocalist sings are practiced so that learners can learn to sing in different voices and produce narrative lyrical singing experience.
This course focuses on teaching the sound of the Peking Opera. Through the introduction of the vocal origins, cavities and plates of the Peking Opera, the learners can understand the characteristics of the Peking opera sound cavity. As well as explaining and teaching the Peking Opera vocalization method and the four major activities of the Universe, the vocalist sings are practiced so that learners can learn to sing in different voices and produce narrative lyrical singing experience.
- Teacher: 劉稀榮
本課程以戲曲表演元素訓練之「四功」唱、念、作、打，以及戲曲基本表演技巧手段之「五法」手、眼、身、步、法之訓練為主體，(藉由精、氣、神的能量訓練培養，到七情的張力與平衡表現訓練、延伸到人物年齡、性格的展現訓練為基礎，透過京劇《金鎖記-選段》、《王熙鳳-選段》、《弼馬溫-選段》、《白蛇傳遊湖借傘-選段》教授，完成表演訓練，提升學生舞台虛擬表現能力，完成學生戲曲傳統技法的表現能力，由老師與學生共同主導，透過現代劇場手法排演，表現出現代生活與古代生活之距離，形成一種劇場對比的表現形式勾劃。
強調現代生活與傳統藝術審美的對比性，藉此培養學生對傳統戲曲表現技巧的運用，藉此完成表演訓練及教學內容。在課程學習完成後，學生將通過（期末學習小品呈現）作為期末學習考核，達到戲曲元素表演能力培養的教學目標。
Performance Course
Contents:
The main body of this course is composed by the "Si-gong" and "Wu-fa". The "Si-gong" which means the four training elements of the opera performance consists of the singing, reciting, the forms of the dance and the forms of the martial art. The “Wu-fa” which means the five methods of basic acting skills of the opera performance consists of “the gestures of the hands, the expressions in the eyes, the directions and postures of the body, the ways of the foot steps and the form of all the methods. For the students’ performance capabilities of the traditional opera techniques, it could be completed by cultivating the energy training of the “Concentration, Breath and Spirit”, with the performance training of tension and balance of the seven emotions, extending to the basis of the performance training of the different age or personality of characters, through the performance training of the virtual forms of the “car, boat, bridge and horse” in the opera, to enhance students' ability in showing the virtual forms on the stage, and practice the selections of "Singing and Reciting" of the Dialogue in Beijing Opera. It becomes a simple artistic creation of the form of the theater comparison by the teacher-led, through the rehearsing of the modern theatrical techniques.
The simple artistic creation of the form of the theater comparison emphasizes the aesthetic comparative of the modern life and traditional arts, and thereby develops the students’ skills in the use of traditional Chinese opera performance, and cultivates the students’ basic planning abilities with the division of the production of the basic performance to complete the performance trainings and creations for the content of the teaching.
After accomplishing the course of study, students should present the simple artistic creation as a final assessment to achieve the aim of the teaching of performance Ability in the field of the opera el
強調現代生活與傳統藝術審美的對比性，藉此培養學生對傳統戲曲表現技巧的運用，藉此完成表演訓練及教學內容。在課程學習完成後，學生將通過（期末學習小品呈現）作為期末學習考核，達到戲曲元素表演能力培養的教學目標。
Performance Course
Contents:
The main body of this course is composed by the "Si-gong" and "Wu-fa". The "Si-gong" which means the four training elements of the opera performance consists of the singing, reciting, the forms of the dance and the forms of the martial art. The “Wu-fa” which means the five methods of basic acting skills of the opera performance consists of “the gestures of the hands, the expressions in the eyes, the directions and postures of the body, the ways of the foot steps and the form of all the methods. For the students’ performance capabilities of the traditional opera techniques, it could be completed by cultivating the energy training of the “Concentration, Breath and Spirit”, with the performance training of tension and balance of the seven emotions, extending to the basis of the performance training of the different age or personality of characters, through the performance training of the virtual forms of the “car, boat, bridge and horse” in the opera, to enhance students' ability in showing the virtual forms on the stage, and practice the selections of "Singing and Reciting" of the Dialogue in Beijing Opera. It becomes a simple artistic creation of the form of the theater comparison by the teacher-led, through the rehearsing of the modern theatrical techniques.
The simple artistic creation of the form of the theater comparison emphasizes the aesthetic comparative of the modern life and traditional arts, and thereby develops the students’ skills in the use of traditional Chinese opera performance, and cultivates the students’ basic planning abilities with the division of the production of the basic performance to complete the performance trainings and creations for the content of the teaching.
After accomplishing the course of study, students should present the simple artistic creation as a final assessment to achieve the aim of the teaching of performance Ability in the field of the opera el
- Teacher: 劉稀榮
「把子」京劇術語稱為「刀槍把子」，初為傳統戲曲演出用的武器道具的統稱，後引申為武打的同義語。訓練演員武打技術的基本功叫「把子功」，它和毯子功、腿功並列為演員進行形體基礎訓練的「三大塊」，在戲曲表演與養成中佔有重要的地位。
所謂把子功，在色彩繽紛、絢麗多姿的京劇舞臺上，常見的刀砍、槍刺、劍撩、棍掃等持器械對打或單人揮舞（戲曲界通稱「耍下場」），以及徒手格鬥等武打和舞蹈動作，叫作打把子，它是衡量一個演員技術是否全面的重要標誌，因之，對於專業演員或學戲曲學生都要進行把子功的嚴格訓練，才能勝任各種類型角色的需要。
打把子多是表現戰場拼殺，對敵格鬥或比武較量的情節的，要求打得有情感、有節奏、有層次、有章法，講究嚴、連、狠、准。嚴，是指雙方配合默
契，絲絲入扣，得心應手；連，就是要連貫，做到快而不亂，慢而不斷，意斷神連；狠，是指情緒熾烈，如臨實戰，表現出強烈的戰鬥氣氛；准，是說腳下部位準確，手裡準確（俗稱下下著），動作判斷準確。總之，無論上打下紮、左刺右擋，手裡要有擒著勁兒（即控制能力），從而達到真實感與藝術美的統一。
The “Baizi” operatic terminology is called “sword and gun handle”. It was originally used as a collective name for weapons and props used in the performance of traditional operas, and was later used as a synonym for martial arts. The basic skill of training actors and martial arts skills is called "kicking off exercises." It is tied with blankets and leg work as the "three blocks" for actors to perform basic training of body form. It occupies an important position in performing and fostering traditional operas.
The so-called sub-functions, on the colourful and colorful Peking Opera stage, the common knife-cutting, gun-stabbing, sword-smashing, stick-sweeping, etc. holding equipment or playing singles (the opera community is known as “playing the game”), and unarmed Combat and other martial arts and dance movements are called playing handles. It is an important symbol to measure the comprehensiveness of an actor's technique. Therefore, professional actors or learners of drama must be trained strictly in order to be able to perform various types of roles. Needs.
所謂把子功，在色彩繽紛、絢麗多姿的京劇舞臺上，常見的刀砍、槍刺、劍撩、棍掃等持器械對打或單人揮舞（戲曲界通稱「耍下場」），以及徒手格鬥等武打和舞蹈動作，叫作打把子，它是衡量一個演員技術是否全面的重要標誌，因之，對於專業演員或學戲曲學生都要進行把子功的嚴格訓練，才能勝任各種類型角色的需要。
打把子多是表現戰場拼殺，對敵格鬥或比武較量的情節的，要求打得有情感、有節奏、有層次、有章法，講究嚴、連、狠、准。嚴，是指雙方配合默
契，絲絲入扣，得心應手；連，就是要連貫，做到快而不亂，慢而不斷，意斷神連；狠，是指情緒熾烈，如臨實戰，表現出強烈的戰鬥氣氛；准，是說腳下部位準確，手裡準確（俗稱下下著），動作判斷準確。總之，無論上打下紮、左刺右擋，手裡要有擒著勁兒（即控制能力），從而達到真實感與藝術美的統一。
The “Baizi” operatic terminology is called “sword and gun handle”. It was originally used as a collective name for weapons and props used in the performance of traditional operas, and was later used as a synonym for martial arts. The basic skill of training actors and martial arts skills is called "kicking off exercises." It is tied with blankets and leg work as the "three blocks" for actors to perform basic training of body form. It occupies an important position in performing and fostering traditional operas.
The so-called sub-functions, on the colourful and colorful Peking Opera stage, the common knife-cutting, gun-stabbing, sword-smashing, stick-sweeping, etc. holding equipment or playing singles (the opera community is known as “playing the game”), and unarmed Combat and other martial arts and dance movements are called playing handles. It is an important symbol to measure the comprehensiveness of an actor's technique. Therefore, professional actors or learners of drama must be trained strictly in order to be able to perform various types of roles. Needs.
- Teacher: 劉稀榮