從認識論真理到劇場文本中的真理－阿多諾的戲劇美學

本文將從以下兩個角度來檢視阿多諾的戲劇美學。首先是阿多諾如何將其獨特的認識論模式轉換為戲劇美學。對於阿多諾而言，藝術作品並非是獨立於社會之外，藝術作品的結構核心總是受到意識型態的汙染，甚至表面上拒絕意識型態的作品，其真正內在核心也只是某種意識形態的顯現，因此藝術作品要如何脫離意識形態的汙染是阿多諾戲劇美學的重點。這其實也是阿多諾哲學認識論的要點，因此本文第一個重點在於處理阿多諾的認識論如何轉化為一套戲劇美學。此外本文的另一個重點，在於探討阿多諾實際進行的戲劇批評，阿多諾反對尼采式的戲劇，認為這種戲劇是法西斯主義的同路人，另一方面也反對亞里斯多德式的戲劇，認為那是文化工業的共謀者，對阿多諾而言，只有貝克特的戲劇可以成為他理想的戲劇典範。

關鍵字

阿多諾；意識型態批判；文化工業；戲劇美學；貝克特

並列摘要

This paper aims to examine Adorno's drama aesthetics from two approaches. First, this paper will investigate how Adorno transforms his episteme, the center of his philosophy, into drama aesthetics. For Adorno, art works, just like the other products in society, have no chances to escape from the domination of ideology. According to Adorno's thinking, certain works of art, such as those of modernism or aestheticism, claim that there is no ideological element inside them. However, it would only reveal that ideology finds a deeper and more obscure place to embed itself in those works. Therefore, Adorno conceives a unique philosophy and aesthetics to dispel the toxic ideological elements from knowledge system and works of art. Besides that, what impresses us is Adorno's drama criticism. Adorno criticizes not only Nietzsche's point of view on drama but also Aristotle's. According to his theory, the former is in alliance with Fascist, which is the murderer of human civilization, while the latter gives birth to culture industry, which controls the public mass in the 20th century. From Adorno's point of view, only Beckett's works correlate to his ideal of art work, which is a paradigm transformed from his philosophy.