本論文以《歌舞線上》原著劇本為主體，亦彙整了電影版本及舞台復排版本，歸納出所欲探討角色之動機、性格、角色定位，也對音樂結構和戲劇之間的關聯性進行分析。
《歌舞線上》可以說是一齣表揚、讚頌歌舞隊的音樂劇著作，透過甄選百老匯歌舞隊的場景，如實的呈現每一位音樂劇演員追逐成為專業音樂劇演員背後的辛酸故事，亦探索演員們對藝術熱愛的自我實現與現實困境之間的拔河與兩難，藉由每位角色的自我表述，呈現歌舞隊演員們不同的心路歷程和面貌。
此作以真實的人物為劇本發想題材，其寫實手法帶領大眾看見劇場生態，獲得社會好評和業界的共鳴，使得這齣音樂劇在短短三個月就從外百老匯轉至正式百老匯舞台，於1975年7月25日，在舒伯特劇院（Shubert Theatre）開演，成功地大放異彩。
本文選定劇中五位較主要的女性角色作為研究對象，其中包含：席拉（Sheila）、克莉絲汀（Kristine）、黛安娜（Diana）、凱西（Cassie）、瓦爾（Val）。而筆者將五位角色之六首選曲：〈在芭蕾〉（“At the Ballet”）、〈唱歌!〉（“Sing! ”）、〈沒有〉（“Nothing”）、〈音樂和鏡子〉（“The Music and the Mirror”）、〈舞蹈：十分；外貌：三分〉（“Dance: Ten; Looks: Three”）、〈我為愛而做的〉（“What I Did For Love”），分別加以詮釋。
藉由五位角色之獨白內容，對角色的性格做進一步分析，並探索其形象塑造，與角色自傳之發想。藉由分析角色的詮釋方法，建構出一套脈絡以協助筆者對角色的臨摹和演繹有所精進，也期許激發出對角色形塑有更多的想像力。

This essay is based on the original script of " A Chorus Line." It also summarizes the film version and Broadway revival. It includes the motivation, characteristics and role orientation of the characters, and also analyzes the relationship between it’s musical structure and drama.
"A Chorus Line" is regarded as a musical work that praises and honors the chorus in the musicals. Through the scene of an audition for the Broadway chorus, the realistic scenario reflects the bitter stories behind every musical actor pursuing a professional career as an actor of musical. This musical also explores the dilemma between the self-realization of art and the difficult realities of the situation. Through the self-expression of each character, it presents the different journeys and aspects of the actors in the chorus.
This musical is based on real characters and its realistic content reveals the realities of the theater to the public. It also received social praise and really resonated with the industry, which is the reason this musical went from Off-Broadway to Broadway in merely three months. On July 25, 1975 at the Shubert Theatre it successfully made a splash.
This essay selects five major female characters as research subjects including Sheila, Kristine, Diana, Cassie, and Val, and interprets the six preferred songs of the five characters. "At the Ballet", "Sing!", "Nothing", "The Music and the Mirror", "Dance: Very good; appearance: "Dance: Ten; Looks: Three", "What I Did For Love".
Through the monologues of the five characters the author gives further analysis of each character’s personalities, explores its image-building and creates the character's autobiography of each roles. By analyzing the interpretation method of the role the author has constructed a set of methods to help herself improve various techniques and interpretation for the role in the hope of igniting their imaginations in character shaping.

一、中文書目

邱瑗《歌舞線上：從倫敦西區到紐約百老匯的音樂劇》，台北市：燿文事業有限公司，1997年。
姚坤君《演員功課〈求證〉的演藝過程》，台北市：書林出版有限公司，2007年。

二、英文書目

（一）英文專書
Elizabeth L. Wollman（2009）.The Theater Will Rock: A History of the Rock Musical, from Hair to Hedwig. U.S.A., Michigan: University of Michigan.p.73.

Jessica Sternfel（2006）. The Megamusical. U.S.A., Bloomington, IN: University of Indiana Press. p112-175.

Lee, Baayork& Walsh, Thommie& Walsh, Thomas（2006）. On the Line: The Creation of a Chorus Line. U.S.A. : Limelight Eds.

Mandelbaum, Ken （1990）. A Chorus Line and the Musicals of Michael Bennett. St. Martins Press.,p189.

Michael C. Thomsett（2012）. Musical terms, symbols, and theory: an illustrated dictionary. Jefferson, North Carolina, and London: McFarland.p.32.

Potter, John（2000）.The Cambridge Companion To Singing. Cambridge: Cambridge University Press.p158-164.

Richard W. Kroon （2014）.A/V A to Z：An Encyclopedic Dictionary of Media, Entertainment and Other Audiovisual Terms. Jefferson, North Carolina, and London: McFarland. p250.

Symonds, Dominic & Taylor, Millie（2013）.Gestures of Music Theater: The Performativity of Song and Dance. Oxford : Oxford University Press. p273-280.

Tom Rowan（2015）A chorus line FAQ : all that’s left to know about Broadway’s singular sensation. U.S.A : Applause Theatre and Cinema Books.

Scott McMillin （2006）The musical as drama. U.K, New Jersey :Princeton University Press

（二）英文論文

Christine Margaret Young（2008）. "ATTENTION MUST BE PAID," CRIED THE BALLADEER: THE CONCEPT MUSICAL DEFINED（Master's Theses）. U.S.A., Kentucky : University of Kentucky UKnowledge.

Mark W. Hardin（1991）. A CHORUS LINE: DOES IT ABIDE BY RULES STABLISHED BY ACTORS’ EQUITY ASSOCIATION FOR THE AUDITION PROCESS?.Orlando, Florida: College of Arts and Sciences at the University of Central Florida.