新世代的法國戲劇導演：挑戰與突破

1990年代登場的法國舞台劇導演無論取材、詮釋、表演策略，乃至於面對觀眾的態度均迥異於上個世代的作風，大大開拓了戲劇表演的領域。這一批新世代的導演雖未經歷六八學潮與政爭的洗禮，卻遍覽意識型態分崩離析、共黨世界解體、世界末日預言、個人自由主義抬頭、媒體勢力無遠弗屆、全球化浪潮等現象，他們面對劇作不再強作解人，而是採取探索的態度，不甘囿於文字，表演的過程變得新鮮活潑。如何突破舞台演出的窠臼為其共同目標，手法則千變萬化，從跨界表演、靈活運用多媒體、追求風格化的形式、標榜演出之戲劇性、探求超越模仿╱再現之可能、凸顯肢體的表演，質問視覺的認知等等，表演能量充沛旺盛。創作之外，這一代的導演也已接掌各大公立劇院，他們勇於肩負劇場的「公共服務」使命。從1990年代法國導演的世代交替論起，本文將分析新世代導演的定義、他們遭到的挑戰、對世界的看法、演出的趨勢、以及「全民劇場」的新實踐。

關鍵字

21世紀法國劇場；全民劇場；異質性演出；演出的物質性；布隆胥韋

並列摘要

French theatre directors emerging from the 1990s are quite different from their predecessors. This new generation of directors open up widely the field of theatre in the choice, interpretation and strategies of staging plays. Having passed through the disintegration of ideologies, the decomposition of the communist world, the prophecy of the end of history at the close of last century, the rise of individual freedom, the overpowering influence of mass media, and the trend of globalization, these young directors no longer want to be obliged to interpret the plays but to adopt an attitude of exploration. How to break up the stereotypes of theatrical production has become the common goal. The means are plentiful, from cross-border performances, flexible use of multiple media, pursuit of a stylized form, emphasis on theatricality, interrogation of visual cognition, search for potential representations beyond mimesis, playing up physical performance, etc. All these means contribute to producing energetic spectacles. In addition to scenic creation, the young generation of directors has taken over most of the public theatres; different from their seniors, they do not shy away from the mission of ”public service” of theatre. Starting from the alternation of generation during the 1990s, this article analyzes the definition of the so-called new generation of directors, the challenges they face, their attitude toward the world, the tendencies of their mises en scene, and the new practices of ”théâtre populaire”.