- 會議論文
從《和善女神》探析儀式戲劇
Verification of Ritual Drama from The Eumenide
摘要
《奧瑞斯提亞三部曲》是被後人譽為「希臘悲劇之父」的埃斯庫羅斯僅存完整的三部曲作品，分別為《阿伽門農》、《奠酒人》、《和善女神》。劇情主要圍繞在阿伽門農之子俄瑞斯特為父報仇弒母，進而為復仇女神追討血債，最後由女神雅典娜宣判無罪的故事。希臘悲劇一向充滿了神話成分，不論是在戲劇結構，乃至於表演模式都跟儀式有很大的關聯。而《奧瑞斯提亞三部曲》不管是整體探討或是分別作品分析都可以發現儀式戲劇甚至是過渡儀式的結構，因此本文欲以二十世紀范金納普所提倡之「過渡儀式」來驗證三部曲之末《和善女神》「是否符合其分離、轉換、整合三階段，再進而運用象徵人類學大師維多•特納）之於「社會劇」理論及「結構」與「反結構」來解析、映證之。
並列摘要
”The Oresteia” in the only trilogy survived intact which was written by Aeschylus, often recognized as the father of tragedy. The Oresteia consists of three tragedies Agamemnon, The Libation Bearers, and The Eumenides. The plot is mainly about Agamemnon's son, Orestes, avenging his father by killing his mother, then hunted and manipulated by the Erinyes, and declared ”not guilty” by Athena. Greek tragedies always involve mythical contents. From the structure of the play to the pattern of the performance, there are always connections to religious ritual. We can always discover the structure of ritual play or rites of passage in The Oresteia both from researching in whole and analyzing separately. Therefore, in the text, I wish to confirm if the end of the trilogy, The Eumenides, is consistent with the three steps-”separation”, ”transition”, and ”incorporation” with ”rites of passage” which Arnold Van Gennep advocated in 20(superscript th) century. And I will analyze and verify with the work of a cultural anthropologist Victor Turner, that is, his theory of ”society play” along with ”structure and anti-structure”.