当中国传统戏曲尚未进入镜框式舞台时,戏曲舞台布景只是游离于戏剧性之外的一种美化舞台的装饰,而歌仔戏的形成几乎与镜框式舞台进入同一时代,从而使歌仔戏使用幻觉透视性布景成为可能。在歌仔百年的今天,我们正在追寻都市舞台的多元、多样,在吸取东方戏曲源泉的同时又领悟来自西方剧场技术与理念。歌仔戏《窦娥冤》的舞台样式就是传统与创新融合的又一次探索。窦娥二三岁失母,七岁被父作价债偿还,十九岁丧夫,二 When traditional Chinese operas had not yet entered the picture-frame stage, the drama stage setting was only a decorative stage that was free from the dramatic stage. The formation of Taiwanese opera was almost at the same stage as that of the mirror-frame stage, so that the illusionary perspective setting of Taiwanese opera became may. In the hundred years of singing, we are pursuing the diversity and diversity of the urban stage, drawing on the origins of oriental opera while at the same time comprehending the techniques and concepts from the western theater. The style of stage of “Opera Douye” in Taiwanese opera is another exploration of the fusion of tradition and innovation. Dou E two or three years old lost his mother, seven years old was the father of debt repayment, widowed at the age of nineteen, two