- 期刊
比真實還要更真實的羅摩行旅──謝喜納對蘭納加爾羅摩戲／節詮釋的面面觀
The Rama Journey Is Realer than the Real - A Critical Study of Schechner's Interpretation of the Ramnagar Ramlila from Various Viewpoints
摘要
在眾多的印度表演藝術形式中，謝喜納對蘭納加爾這個地方的羅摩戲／節特別有感覺，多年來持續關注，投入大量時間精力做田野研究並撰文論述該戲／節。謝喜納曾評論道：「參加羅摩戲／節的群眾追隨羅摩步上旅程，穿越印度史詩的神話空間。當他們亦步亦趨的追隨時，他們對羅摩產生認同感：羅摩戲／節並非是製造幻覺的劇場，而是超級真實。」蘭納加爾羅摩戲／節的哪些面向是不可或缺的特質？且這些特質影響並形塑謝喜納的表演理論？羅摩戲／節隨著印度人離散的腳步傳至世界各地，包括非洲和許多東南亞國家。在2005年，聯合國教科文組織宣布羅摩戲／節傳統是「口述與無形人類遺產的傑作」，除認同當地政府與人民在提倡與保護羅摩戲／節這樣的文化傑作所做的努力，更是肯定該戲非物質文化成分的價值。我們要問該戲無形、非物質文化的成分是甚麼？本論文探討蘭納加爾羅摩戲／節的文、物、戲與節，深究謝喜納與巴魯洽關於神的遊戲（lila）或世俗節慶（mela）的爭議，既關心謝喜納對蘭納加爾羅摩戲／節的詮釋，也要剖析蘭納加爾羅摩戲／節如何形塑他的表演理論。
並列摘要
Among the many forms of Indian performing arts, Richard Schechner has a special feeling for the Ramalila at Ramnagar. He has been paying persistent attention to it for many years, investing a lot of time and energy in field research and writing articles on this Ramlila. Schechner once commented:"The crowds who attend Ramlila join Rama on his journeys through the mythopoetic space of epic India. As they follow, they identify with Rama: Ramlila is not a theatre of make believe but of hyperreality." What is "hyperreal" in the Ramnagar Ramlila? What is Schechner's interpretation of the Ramlila of Ramnagar? What aspects of the festival are reckoned as indispensable qualities? And do these qualities influence and shape Schechner's theory of performance? The Ramlila has spread to all parts of the world with the diaspora of Indians, including Africa and many Southeast Asian countries. In 2005, UNESCO announced that the Ramlila is a "Masterpiece of the Oral and Intangible Heritage of Humanity." This announcement not only recognizes the promoting and protecting efforts made by the local government and people but also affirms the value of the non-material cultural components of the festival. This paper proposes to inquire about the intangible and non-material cultural components of the play. It attempts to discuss the aspects of literature, materiality, theatricality, and festivity of the Ramnagar Ramlila, and delves into the dispute between Schechner and Bharucha on the topics of lila and mela. It is concerned about Schechner's interpretation of the Ramnagar Ramlila and analyzes how this festival shapes his performance theory.