標榜演出之戲劇性：法國表／導演新面向

近年來，標榜戲劇性的舞臺劇演出在法國逐漸蔚為風潮。本文所論並非戲劇本質之探究、「戲中戲」、或以戲評戲之「後設戲劇」，而是指演出刻意強調「戲正上演」，劇本似仍在發展，各種可能持續不停萌發，演員隨機排練，令觀眾強烈感受到臨場感，覺得自己是演出的一份子。眾人皆知，沒有觀眾就沒有演出可言，所有演出都是為了觀眾而排練。但曾幾何時，我們去看戲時覺得自己身歷其境？本文以戲劇化演出的代表劇團與導演－「夜晚被白日奇襲」劇團與西瓦第埃－迄今為止最重要的作品莫理哀三部曲《中產階級、死亡與演員》和《李爾王》為例說明二者的追求。兩齣製作一喜一悲，基本上均借用庶民劇場的搬演傳統，但前者採廿一世紀的舞臺表演語彙與當代觀眾溝通，大獲全勝，後者則致力讓觀眾重新感受到莎劇原始演出無可抵擋的魅力，為二○○七年「亞維儂劇展」的重頭戲。分析戲劇化之演出，論者常侷限於其表面吸引力，貌似譁眾取寵的手段其實均有所本，另有作用。更重要的是，戲劇化演出廣受大眾歡迎，也開創了一條新的表演路線，所謂的「人民劇場」似乎找到了新的生命重現劇壇，其後續發展值得期待。

關鍵字

戲劇性；李爾王；莫理哀；人民劇場；當代法國劇場

並列摘要

To display the theatricality of performance has become more and more frequent in recent France. The term ”theatricality” here does not mean the search for the essence of theatre, the theatre-in-the-theatre, or metatheatre, but the demonstration of ”the show is going on” so that the work is seemed still in development and the actors appear to improvise on stage. All these contribute to the audiences´ lively feeling of being in the production. Everybody knows no spectators, no spectacles; each representation is rehearsed for the audiences. However, when do we feel being in the play when watching it? This paper focuses on the representative works of this highly theatrical current-the trilogy of Molière (The Bourgeois, Death and the Actor) staged by the ”Company of the Evening Surprised by the Day” as well as King Lear, directed by Jean-François Sivadier. One comic, the other tragic, both scenic works refer to the popular tradition of stage boards, yet the former actually deployed the twenty-first-century acting vocabulary to communicate successfully with modern public, while the latter tried to recreate the irresistible charm of an original Shakespearian production. To analyze the stage creations that display theatricality, too much attention has been paid to their apparent appeal to notice their real significances. In fact, all the theatrical devices employed that look like seeking the favour of the spectators have other important functions. More importantly, this tendency of acting and mise en scene has become so popular that it has become a new direction. The so-called ”Popular Theatre” (”le theatre populaire”) seems to find a new model to re-emerge on French stage. Its further development is worthy of anticipation.