論維納韋爾複調戲劇之演出：從《朝鮮人》到《落海》

維納韋爾的劇作探討了法國半個世紀以來國家與社會的重大議題，重要性無與倫比，其獨創的複聲合調手法更挑戰了傳統的編劇與搬演規制，造成演出莫大的困難。因此，他的劇本雖然吸引了不少導演的興趣，但能與劇作相互輝映的演出卻可謂鳳毛麟角。本文試著回答此一問題，從維納韋爾原創的編劇法論起，分析其演出製作最易落入的陷阱，並討論維納韋爾本人對自己作品演出的理念與其實踐。事實上，真正將複調劇特色發揚光大的導演為法朗松，1990年代他在「柯林國家劇院」總監任內所執導的《鄰居》、《King》以及《傳達員》三戲，難得能與劇作媲美。進入新的紀元，「國立人民劇院」的總監胥阿瑞堤在2008年將維納韋爾畢生的代表鉅作《落海》（1969）全本搬上舞台，所有劇評齊聲盛讚演出非凡的成功，全程長達七小時的演出能量充沛，活力四射，維納韋爾的作品總算得到舞台演出的肯定。

關鍵字

米歇爾˙維納韋爾；《落海》；複調劇；風景劇；亞倫˙法朗松

並列摘要

Michel Vinaver has consistently discussed the major issues of French society through his plays for half a century; the importance of his works is incomparable. Since his invention of polyphonic dramaturgy has challenged the traditional conventions of staging, the production of his dramas has become a huge challenge. Many directors have been interested in his original works; nevertheless, very few productions can reach the creative quality of his texts. This article aims to analyze this phenomenon by discussing the unique dramaturgy of Vinaver, the major pitfalls of its performances, and Vinaver's own scenic realisations of his works. The first director who really highlights the distinctive quality of polyphonic plays is Alain Françon whose mises en scene of Neighbours (Les Voisins), King and The Ushers (Les Huissiers) during his reign at the National Theatre of Colline at the nineties open up new perspectives of directing Vinaver's plays. In the new century, Christian Schiaretti, the actual administrator of the National Popular Theatre (le Théâtre National Populaire) has finally directed the integral Overboard (Par-dessus bord, 1969) in 2008; all the critics have unanimously praised the energy and vitality of this seven-hour performance, the exceptional success of which ultimately reconfirms the dramatic achievement of Vinaver.