從「對話」到「說故事」的表演：鈴木忠志導演《李爾王》

From ＂Dialogue＂ to ＂Storytelling＂: King Lear Directed by Tadashi Suzuki

林于竝(Yu-Pin Lin)

《戲劇學刊》 24期 (2016/07) Pp. 107-132

摘要

本篇論文將戲劇當作文化的實踐，分析鈴木忠志的作品《李爾王》，思考日本戰後導演如何回應80年代的文化處境。在劇本方面，鈴木忠志藉由「本歌汲取」的手法改編莎士比亞的原作，讓客觀的戲劇事件成為關於「某人的故事」。在導演的手法上，鈴木忠志的《李爾王》與「複式夢幻能」的敘事結構有非常明顯的親近性。鈴木忠志借用能劇的「脇役」的概念，讓李爾王留置在舞臺上，這種場面調度手法讓莎士比亞的《李爾王》不是一個客觀的世界，而是一個透過某個主觀所看到的世界。在《李爾王》的舞臺當中，鈴木忠志讓「幻視者」李爾王＝老人大部分的時間居於舞臺的中央位置，與他「對話」的其他角色則分散於其兩側。鈴木忠志的舞臺虛構了一個鏡面，折射的人物的位置，創造了劇中人物與虛像人物的對話，將場景置入虛幻當中。「鏡像折射」的場面調度，不只是「虛像化」翻譯劇的西方經典文本，它更改變了演員、角色、觀眾之間的「表演＝身體／語言」關係。其最終朝向的目標，是鈴木忠志所追求的他稱之為「語り（Katari）＝騙り（Katari）」的演員身體性。這種導演美學反映了日本80年代劇場對於日本的現代化過程以及戰後的文化處境的省思。

關鍵字

鈴木忠志 ； 日本戰後導演 ； 李爾王 ； 夢幻能 ； 語り

並列摘要

This study sees drama as a form of cultural practice, analyzing Tadashi Suzuki's King Lear to discuss how Japanese directors responded to the cultural situation in the 1980s. Using the technique of ＂Honka Dori＂（本歌取り）to adapt William Shakespeare's play, Tadashi Suzuki turns events in the play into ＂stories of particular characters.＂ With such techniques of the director, the narrative structure of Suzuki's King Lear has an obviously high similarity with that of Fukushiki Mugen-Noh（複式夢幻能）. Tadashi Suzuki borrows the concept of Waki（脇役）from Noh to hold King Lear on the stage, and with such a mise-en-scène technique, William Shakespeare's King Lear no longer presents an objective world anymore; instead, it is an onstage ＂illusion＂ seen through a certain subjectivity. On the stage of Tadashi Suzuki, an invisible mirror is set. Locations of characters' mirror images have created dialogues between characters in the play and their reflected counterparts, and thus the stage has been made into a surreal scene. The mise-en-scène technique of ＂reflections of the mirror＂ not only makes this translated Western classic play a ＂mirror image,＂ but also alters the ＂performance=body/language＂ relationship among actors, characters and the audience. The final goal, and what Tadashi Suzuki is seeking through this, is the actor's corporeality which he describes as ＂Katari（語り, narration）= Katari（騙り, deception）.＂ Such an aesthetic aspect of the director also reflects ideas of Japanese theatre in the 1980s toward the modernization of Japan and the cultural situation after WWII.

並列關鍵字

Tadashi Suzuki ； postwar Japanese director ； King Lear ； Fukushiki Mugen-Noh ； Katari

參考文獻

林于竝(2009)。日本戰後小劇場當中的身體與空間。臺北:國立臺北藝術大學。

Barba, Eugenio,Savarese, Nikola,Fowler, Richard(trans.)(2006).A Dictionary of Theatre Anthropology: The Secret Art of the Performer.New York:Routledge.

Szondi, Peter(1987).Theory of the Modern Drama: Theory and History of Literature.University of Minnesota Press.

Pavis, Patrice(1991).Theatre at the Crossroads of Culture.London:Routledge.

田代慶一郎(1994)。夢幻能。東京:朝日新聞社。