具現小說之敘事紋理―論安端·維德志“戲劇一敘事”系列舞臺作品

Represent the Narrative Texture of Novels-On the 'Theatre-Narrative' Stage Creations of Antoine Vitez

楊莉莉(Li-Li Yang)

《藝術評論》 12期 (2001/12) Pp. 111-152

摘要

法國導演安端•維德志於七○年代五度將敘述本質的文本搬上舞臺，這五齣戲分別是：《禮拜五或野人生活》、《奇蹟》、《卡特琳》（源自路易•阿拉貢的小說《巴塞爾的鐘聲》，1975）、《葛里絲麗蒂絲》以及《五十萬軍人塚》。對維德志而言，將敘述本質的文本搬上舞臺，並不意謂著以舞臺演出圖解原著的世界，亦非將其改寫成劇本對話書寫體的模式即可登臺。類似的作法事實上皆在於泯滅敘述作品的本質。相反地，維德志堅信，欲將敘事文本化為戲劇演出，首在於呈現作品的敘事紋理，使最後的演出同時涵蓋戲劇與敘事兩種範疇，他因而統稱自己這類實驗性質的演出為「戲劇-敘事」作品。《卡特琳》是此一系列極至之作，因為全場演出完全跳脫具象的思維模式，而單憑演員撐起演出的架構。在《卡特琳》中，維德志的演員借助生動的態勢與聲腔，在述說故事之際披露戲劇化的情境。雙重的表演情境－讀小說與吃晚餐－互相對照，導演並在回憶的趨使下更動原著情節本來的書寫順序，表演的邏輯看似奇怪、突兀、不相連貫，各式象徵與比喻的物件與動作觸目皆是，直至劇終，表演的況味方才完全浮現：圍繞著卡特琳的故事，是導演對兒時與對阿拉貢永恆的回憶。本文先行討論「戲劇-敘事」系列表演策略的摸索過程，繼則以《卡特琳》為例，深入分析本戲表演文本的處理手法、導演的策略以及演技之突破處，文末並探索此一系列之創作綠由。

關鍵字

安端·維德志 ； 路易·阿拉貢 ； 《卡特琳》 ； 《巴塞爾的鐘聲》 ； 「戲劇一敘事」

並列摘要

French director Antoine Vitez (1930-90) has brought five narrative works on stage during the 70s. To Vitez, adapt a narrative work into a theatrical work does not mean to represent its plot in the form of dialogue, or to present it with strong images (like Robert Wilson's practice), or merely to use the narrative works as sources of inspiration for personal creations (like Tadeuze Kantor's works). In fact, these methods aim nothing but to destroy the narrative nature of literary works. In this aspect,Vitez believes that to adapt a narrative work for the stage, the first thing is to reveal its narrative texture, so that the final production will be both theatrical and narrative. Catherine, based on Louis Aragon's novel Les Cloches de Bale, is the best example of these experiments, because it totally gets rid of the idea of ”representation”. In this production, four actors and four actresses sit around a table to have dinner while reading Aragon's novel. They go slowly through each of the courses in French style, from the soup at the beginning to coffee and liqueurs at the end. In some dramatic moments, they might more or less play a role of the novel by using the third person's point of view. The spectacle looks bizarre, fragmented and arbitrary. All sorts of metaphorical actions and objects appearing on the stage, because Vitez, haunted by personal memories, changes the order of the original episodes. On the whole, the death of anarchism in France is the theme, and the performance is dominated by the remarkable interpretation of Nada Strancar (Catherine). This article discusses first the director's other attempts of 《theatre-narrative》, then focuses on Catherine to analyze its treatment of text, directing strategies as well as actors' performance, and finally points out the sources of this series of stage works.

並列關鍵字

Antoine Vitez ； Louis Aragon ； Catherine ； Cloches de Bâle ； 'Théâtre-récit'