Dead End: An Analysis of Characters in Tom Stoppard’s ＂Rosencrantz and Guildenstern Are Dead＂

終點：湯姆史達普《羅森克蘭茲與吉爾登司騰已死》角色分析

蘇文祥(Wen-Hsiang Su)

《高雄師大學報：人文與藝術類》 35期 (2013/12) Pp. 93-104

摘要

本文旨在以巴赫汀的嘉年華（camivalesque）來討論湯姆．史達普的《羅森克蘭茲與吉爾登司騰已死》。本文著重兩位主角羅森克蘭茲與吉爾登司騰的不安全感，以及他們如何面對迎面而來未知的挑戰。湯姆．史達普也受到俄國形式主義的影響，反映出與巴赫汀有相同的看法。巴赫汀研究著重在個體主體性，換句話說，也就是探討人與人之間的互動。他從語言的角度出發，並相信意識型態由語言所引導出，並帶有深厚的意義。意識型態長久以來遭到誤用，威權用來控制人民的思想。但是，巴赫汀卻認為每個個體所發出的意識型態，有其個別的重要性，而不能遭誤用成為控制思想的一種工員。因此，巴赫汀凸顯每個個體意識型態的獨特性，來顛覆專斷勢力（unified force）。湯姆．史達普筆下的羅森克蘭茲與吉爾登司騰，剛好符合巴赫汀對嘉年華（carnivalesque）的闡述。羅森克蘭茲與吉爾登司騰在史達普巧妙的安排下，挑戰主流思想，羅森克蘭茲與吉爾登司騰成為盲目追求主流意識型態下的犧牲者。此外，詼諧式的死亡結局，帶領觀眾了解專斷思想的弊病。因此，本文也會討論劇中布萊爾（Player）如何影響羅森克蘭茲與吉爾登司騰，如何帶領他們即時覺醒與頓悟。

關鍵字

嘉年華 ； 意識型態 ； 君權 ； 專斷勢力

並列摘要

This paper focuses on Stoppard's ”Rosencrantz and Guildenstern Are Dead” by using a Bakhtinian approach, carnivalesque, to analyze it. Instead, this paper will shed light on its two main characters, Rosencrantz and Guildenstern, as well as on how they deal with and react to the unexpected incidents coming toward and overwhelming them. Stoppard reflects some of Bakhtin's ideas in his own plays under the influence of Russian Formalism. Bakhtin studies the formation of the subject, which means how human beings think and act, or interact with other people. Bakhtin begins his narrative based on language. He believes that language turns into one kind of means from which ideology derives, and becomes articulated. Ideology is adopted as a method to control human behaviors, and sovereignty misuses it to dominate people. According to Bakhtin, each ideology, originating from each individual, has its own significance other than being considered a mind-controlling principle. Thus, Bakhtin juxtaposes the uniqueness of each discourse, which represents the importance of formation of ideology, to destroy the unified force. In this regard, Stoppard's ”Rosencrantz and Guildenstern Are Dead” corresponds to the description that Bakhtin mentioned regarding carnivalesque. These two characters challenge the mainstream under Stoppard's intricate arrangement. Blindly following one principle gradually leads Rosencrantz and Guildenstern to death. Though they sacrifice their lives in the end, such a comic ending turns the audience's attention to the downside of unified force. Therefore, this paper will focus on how Ros and Guil achieve their awakening and realization under the guidance of Player through carnivalesque.

並列關鍵字

Carnivalesque ； ideology ； sovereignty ； unified force

參考文獻

Andretta, Richard A.(1992).Tom Stoppard: An Analytical Study of His Plays.New Delhi:Vikas Publishing House PVT Ltd..

Bakhtin, Mikhail,Emerson, Caryl(Ed.)(1984).Problem of Dostoevsky's Poetics.Minneapolis:U of Minnesota P.

Bakhtin, Mikhail,Iswolsky, Hélnè(Trans.)(1984).Rabelais and His World.Bloomington:Indian UP.

Bakhtin, Mikhail,Holquist, Michael(Ed.)(1981).The Dialogic Imagination.Austin:U of Texas P.

Billington, Michael(1987).Stoppard: The Playwright.London:Methuen.