本論文主要探討當代「導演歌劇」風潮之下的威爾第《法斯塔夫》演出。論文第一章簡述「莎士比亞歌劇」常見的問題及當今歌劇演出的趨勢。論文第二章將比較威爾第/柏益多《法斯塔夫》及原著《溫莎的風流婦人》之異同。在改編成歌劇後，《法斯塔夫》在戲劇層面上相對簡化，但編劇的簡潔精鍊、法斯塔夫一角塑造上的創新以及音樂上的圓熟突破，仍奠定本作在音樂史上的地位。論文第三章將檢視自華格納以降歌劇製作形態的流變。在歌劇以上演經典劇目為主要活動後，專業導演逐漸成為歌劇之主要詮釋者。導演的新詮釋常使觀眾對歌劇有全新認識，但也常招致非議。如何處理戲劇和音樂的關係是歌劇導演需要思考的課題。論文第四章將分析部分當代《法斯塔夫》錄影演出。部分導演本於對歌劇文本以至於莎劇的理解詮釋此劇，而有些演出則反映更顯著的個人風格或是政治訴求。另外，受到當代理論影響，也有導演企圖解構歌劇文本。這些前衛的演出除了產生新的意義，亦挑戰觀眾的既有認知。論文第五章為結論。為因應歌劇形式，作曲家和劇作家在改編莎士比亞原著時勢必有所取捨，但導演可以藉由不同手法來豐富其戲劇表現。而導演身為戲劇詮釋者，可使歌劇和莎士比亞/莎學有進一步的交流互動。

Many Shakespearean operas have been disdained, disregarded for the dramatic simplifications. Even Verdi-Boito’s Falstaff, one of the most prestigious Shakespearean operas, is usually deemed as simplified and romanticized. However, as a performing art, opera is expected to be experienced, understood and appraised based on practices in opera house. The dramatic level of these operas after Shakespeare, through contemporary directors’ reinterpretations, can be thus enriched and simultaneously reconsidered. In this thesis ten videotaped versions of Falstaff will be discussed. These interpretations, though not exhaustively, represent the multiple attitudes and methods and reflect that a director now becomes the key figure of opera production. Within these performance texts, diverse styles are shown, forgotten themes are resurrected, political tensions are exposed and unprecedented new ideas are appended. Directors’ inventions indeed renew opera, realize Wagner’s Gesamtkunstwerk ideal and suggest the possibility of the rediscovery and reconceptualization of the numerous Shakespearean operas. Some productions, nevertheless, reveal the potential defects of “director’s opera.” The novel experiments and distortions annoy, confuse many opera buffs, while the intentional inconsistencies and mutual interference between drama and music imply the difficulty to tackle both elements. How to deal with music would always be a challenge to opera directors.

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