「解散」或是「不解散」，那是值得考慮的問題：當莎士比亞的《哈姆雷特》遇上李國修的《莎姆雷特》

To Disband, or Not to Disband, That is the Question: When Shakespeare's "Hamlet" Encounters with Lee Kuo-hsiu's"Shamlet"

陳瑞松

《臺藝戲劇學刊》 5期 (2010/03) Pp. 45-62

https://doi.org/10.29481/AJTDNTUA.201003.0004

摘要

隨著時空的變遷，劇本被賦予的時代意義也隨之不同，甚至可用以傳遞特定訊息。以莎士比亞的《哈姆雷特》為例，哈姆雷特王子特意請來戲班子演出《貢札古之死》（the Murder of Gonzago），意圖試探自己的叔父克勞迪斯（Claudius）是否為謀害其父的兇手，在觀看戲劇演出的過程中，克勞迪斯受不了刺激而離席，哈姆雷特因此更加確信克勞迪斯乃是殺父仇人，由此可見戲劇俱影射功能，其影響力足以令觀眾感同身受。而李國修的《莎姆雷特》亦有異曲同工之妙，虛擬劇團「風屏」誤植「莎」士比亞的「莎」字在「哈」姆雷特上頭，點出近代台灣的劇團在演出莎士比亞戲劇時，往往將「莎士比亞」這個盛名或「莎翁名劇」拿來消費卻又不求甚解；因此，莎翁的《哈姆雷特》成了李國修眼中的另一齣《貢札古之死》藉由重新詮釋文本加上舞台上陰錯陽差的演出，李國修試圖告訴觀眾他要復仇的對象是「台灣當代的戲劇環境」。換言之，李國修這位戲劇王子諧擬莎士比亞《哈姆雷特》並應用其中王子復仇的橋段，為戲劇的理想與抱負踏上了為戲復仇之旅。因此，本文將探究歷史背景對台灣劇場發展為研究主軸，並分成三個層面來細究《哈姆雷特》背後所隱含的意義：其一，探討台灣當代歷史變遷對台灣劇場發展（包含李國修的屏風表演班）所造成的影響。其二，藉著李國修重新閱讀莎士比亞的《哈姆雷特》的經驗來檢視莎士比亞的戲劇和台灣劇場之間的關係。其三，藉由本劇的影射來重新思索台灣戲劇未來的發展。本文冀望藉李國修的《莎姆雷特》來看莎士比亞戲劇與台灣劇場相互影響下所呈現的多重關係。

關鍵字

台灣劇場 ； 李國修 ； 莎士比亞 ； 哈姆雷特 ； 莎姆雷特

並列摘要

In William Shakespeare's ”Hamlel”, Prince Hamlet invites a theatrical troupe to present a play to see if King Claudius is a true murderer of his father. When the play, ”the Murder of Gonzago”, is presented to Claudius, Hamlet discovers that Claudius feels uneasy. Such a reaction has Hamlet confirm that Claudius is the murder of the old Hamlet. In this case, we can discover that a play possesses a magic power to stimulate the audience's inner emotions. Actually, Lee kuo-hsiu's ”Shamlet” and ”the Murder of Gonzago” share similar functions. When a fictional theatre troupe, Fong-Ping, performs ”Shamlet”, its disastrous performance reveals us that many contemporary Taiwan's troupes misunderstand and even misquote Shakespeare. Moreover, the name of Shakespeare is consumed. Thus, ”Shamlet” becomes a sarcastic as well as vengeful play ”the Murder of Gonzago” in Lee's mind. Through the play, Lee avenges himself against the contemporary theatrical environment in Taiwan. Comparing himself as a prince of theatre, Lee fights for his ideals in Taiwan's theatre. To understand the implication of Lee's ”Shamlet”, I adopt a historical study to discuss the development of Taiwan's theatre in three aspects. First, I focus on the relationship between the contemporary Taiwan political environment and the development of Taiwan's theatre. Secondly, I compare the relationship between Taiwan's contemporary performances and Shakespeare's plays. At last, I take ”Shamlet” as an example to rethink the future of Taiwanese theatre. In this paper, I expect to unearth the multiple relationships between Shakespeare and Taiwanese theatre through Lee Kuo-hsiu's ”Shamlet”.

並列關鍵字

Taiwan's Theatre ； Lee Kuo-hsiu ； Shakespeare ； "Hamlet" ； "Shamlet"