在虛實模糊地帶說故事─論李國修《京戲啟示錄》和《女兒紅》的敘事結構

Telling Stories in the Blur Area between Reality and Illusion-The Narrative Structure of "Peking Opera: The Revelation" and "Wedding Memories"

廖玉如(Yu-Ju Liao)

《弘光人文社會學報》 10期 (2009/05) Pp. 79-104

https://doi.org/10.29933/SHSS.200905.0004

摘要

《京戲啟示錄》和《女兒紅》是李國修兩部自傳式的作品，前者表現李父對傳統京劇的熱誠和尊重，及主角李修國經營劇團的執著。後者描述修國對李母的無盡懺悔並藉此展開其尋根之旅。兩劇沿用戲中戲技巧，刻意模糊鏡框內外的界線。編導不但以場景敘事故事，也以李國修的代言人李修國，親口敘述自身的故事。李國修常利用場景講故事時，同時也以敘述加強或抹除故事的真實性，因此製造虛實模糊的效果，而李國修即在此模糊地帶說故事。此文試圖探討兩劇的敘事結構和場景運用技巧，以期能暸解李國修的敘事慾望。

關鍵字

李國修 ； 戲中戲 ； 虛幻與真實 ； 回憶

並列摘要

The two plays, ”Peking Opera: The Revelation” and ”Wedding Memories”, are Li Quo-Xiu's so-called autobiographies, which are constructed as a series of flashbacks narrated by Li Xiu-Quo (Li Quo-Xiu's alter ego). The former is not only about the enthusiasm and respects of Xiu-Quo's father toward Peking opera but also Xiu-Quo's insistence of running his theater group. The latter describes Xiu-Quo's regrets to his mother and the search for his identity. The two plays, both employing the play-within-a-play device, try to wipe out the boundary between the reality and illusion both on the stage and off the stage. Story-telling is the main method used in the two plays as Li Quo-Xiu's double stands on the stage to tell other characters about his own stories, in order to complete his narrative desire. This essay tries to analyze the structure and narrative activities of the two plays, in order to understand Li's narrative desire.

並列關鍵字

Li Quo-Xiu ； play-within-a-play ； illusion vs. reality ； memory