眾聲喧嘩：高行健《車站》多音複調的戲劇新形式

《車站》是高行健最早的一部戲劇作品，劇中運用多聲部和多人稱的多音複調戲劇形式。本文將探究高行健《車站》的多音複調戲劇新形式，呼應著巴赫汀（Bakhtin）的文學理論，更延伸為一種眾聲喧嘩（heteroglossia）。《車站》在中國上演之後，引起各界矚目但不久就被禁演，一齣生活抒情喜劇演變成政治事件，也造成高行健的放逐與流亡。然而，高行健是第一位用中文寫作而獲得諾貝爾文學獎的作家，其獲獎的關鍵包括「多人稱」和「多聲部」的敘述方式。因此，《車站》所展現的多音複調戲劇形式，在高行健的創作生涯中，是非常重要的關鍵作品。本文將分三個層次討論高行健的《車站》劇作，首先，以高行健現代小說技巧與現代戲劇觀點，討論其融合小說技巧於現代戲劇的新思維。其次，分析《車站》多音複調的敘述手法，展現戲劇的新形式。最後，探討高行健多音複調的戲劇實踐，所形成的眾聲喧嘩。高行健在中國動盪的文化轉型時期，以多音複調的新思維，不但創新劇作的新形式，更顛覆了政治性的戲劇主流，開展戲劇多元化的眾聲喧嘩。

關鍵字

眾聲喧嘩；高行健；《車站》；多音複調；巴赫汀

並列摘要

The Bus Stop, Gao Xinjian's earliest play, uses polyphonic polytonality with multiple voices and persons. This paper explores how this new dramatic form corresponds to Bakhtin's literary theory and extends to heteroglossia. After The Bus Stop made its debut in China, it received the world's attention, but was banned before long. A romantic life comedy turned into a political event and led to the banishment and exile of Gao Xinjian. However, as the first winner of Nobel Prize for Literature writing in Chinese, one of the keys to his winning includes the narrative forms of ＂multiple persons＂ and ＂multiple voices.＂ Therefore, the dramatic form of polyphonic polytonality in The Bus Stop is very crucial in Gao's writings. The paper analyzes Gao's The Bus Stop in three levels: First, I discuss Gao's new thinking of blending novel writing techniques into modern drama in terms of his modern novel techniques and modern drama perspectives. Next, I examine how polyphonic polytonality is presented as a new dramatic form in this work. Finally, I explore how heteroglossia is formed in Gao's implementation of polyphonic polytonality. During the cultural transition period under China's turmoil, Gao not only created a new dramatic form through the new thinking of polyphonic polytonality, but subverted political mainstream dramas and started heteroglossia of diversified dramatic writings.