- 期刊
四個自殺的女人與一個女導演：試探寫實主義與米契爾（Katie Mitchell）的文本劇場
Four Suicidal Women and One Female Director: Exploring the Theatre Realism in Katie Mitchell's Text-based Productions
摘要
英國劇場導演凱蒂．米契爾的作品向來以刻畫女性形象見長，不論是經典劇本的當代改編（如《被仁慈殺害的女人》、《特洛伊女人》、《伊菲格涅婭在奧利斯》、《夢幻劇》、《青春之慟》）、縝密精準的舞台多媒體製作（如《浪潮》、《她的蛛絲馬跡》、《茱莉小姐》）、或是當代新作搬演（如《深夜時刻》、《自殺的解剖學》、《奧菲利亞的房間》），女性的憂愁、悲傷、情慾、焦慮與壓抑，透過米契爾的創作，具象轉換為讓人難忘的鮮明角色。本論文探討三部米契爾於二十一世紀第二個十年期間創作的三個文本劇場作品－湯瑪斯．海伍德（Thomas Heywood）《被仁慈殺害的女人》（A Woman Killed with Kindness, 2011）、與喬治．班傑明（George Benjamin）及馬丁．昆普（Martin Crimp）合作的《寫於膚上》（Written on Skin, 2012）、以及與愛麗絲．柏曲合作的《自殺的解剖學》（Anatomy of a Suicide, 2017）。此三個作品，分別為英國文藝復興劇作的當代改編、中世紀傳說的歌劇改編、以及新生代劇作家的新作，儘管作品中創造的世界分屬不同的年代，米契爾卻總能在她的創作中，以劇本中的女性處境，映照當今女性所面臨的生活種種。本文聚焦於此三個作品分割舞台（split-stage）的手法，探討米契爾如何在寫實主義表演的基礎上，在舞台上展現及批判女性在家庭中遭逢的困境。
並列摘要
Katie Mitchell, the renowned contemporary British theatre director, has been widely praised for her skillful portrayals of female life in various circumstances. With her acclaimed directorship, Mitchell has created vivid characters telling stories of depression, sadness, desires, anxieties and repression from female perspectives not only in classic plays such as A Woman Killed with Kindness, Women of Troy, Iphigenia in Aulis, A Dream Play, and Pains of Youth, but also in distinctive multi-media productions including Waves, ...Some Trace of Her, and Fräulein Julie, as well as contemporary plays such as Small Hours, Anatomy of a Suicide, and Ophelias Zimmer. In this article, I focus on three theatre text-based productions directed by Katie Mitchell in the 2010s, including A Woman Killed with Kindness (2011), Written on Skin (2012), and Anatomy of a Suicide (2017). While A Woman Killed with Kindness was written by Thomas Heywood and first performed in 1603, Written on Skin was an adaptation in collaboration with Martin Crimp based on a legendary story in thirteenth-century Provence. Anatomy of a Suicide was a contemporary creation made in collaboration with Alice Birch. Despite the different periods in which the plays were set, in these productions Mitchell excelled in utilizing female characters to raise critical questions about contemporary female life. This paper will focus on the use of the split-stage in these three productions and investigates how Mitchell presented and criticized the family-related difficulties experienced by women through realist performing methods.