- 期刊
說，或者演？－臺灣兒童劇場文本敘述技巧研究
To Tell or to Act?-A study on the narrative skill of the text in Taiwan's children's theatre
摘要
亞里斯多德的《詩學》中，藉由「表演的」與「敘述的」兩種不同文字書寫和語言表現的方式，區隔了戲劇和史詩兩大文類，然而，「敘述」卻始終像幽靈一樣迂迴存在於戲劇文本的書寫之中，布雷希特的史詩劇場如此，晚近興起的「新文本」的書寫之中更是方興未艾，甚至在許多被歸類在寫實主義範疇中的作品，其實在對話中早就都存在著「敘述」的影子，於是，從文本呈現的角度上來看，戲劇是單純的表演？還是不同程度的敘說？敘述技巧的運用在劇本書寫上會帶來什麼樣不同的劇場現象？是值得關注的議題。以兒童戲劇來看，臺灣的兒童戲劇發展從1980年代開始，呈現出迥異於日本殖民時期與國民政府統治前三十年的發展，邁向了劇場專業導向的「兒童劇場」（Children's Theatre）時代，而劇本的書寫，在內容上擺脫了高度教育意涵的主題牽絆，在形式上也朝向多元表現的可能性，但在劇戲文本的書寫策略上，敘述的技巧卻始終互涉在戲劇文本的語言表現之中，有的直接透過「說書人」或「旁白」來表現，有的則是隱藏在劇中人物的大段落故事敘說中，有的則是出現在許多與觀眾直接「互動」的場面中，這些具有敘述本質的書寫策略究竟為兒童劇場的表現帶來什麼樣的劇場思維？它和兒童喜聞樂聽故事的本能是否相關？其與從日本殖民時期即開始在臺灣推動的「說演故事」有沒有甚麼藕斷絲連或是伏流暗渠的本質牽涉？我們可否從當代臺灣兒童劇場的演出文本中，看到說與演的互涉特質？它帶來了何種新的文本書寫風貌與劇場表現可能？本文將以曾西霸編選、幼獅文化出版的《粉墨人生：兒童文學選集1988～1998》，以及臺北市政府文化局自2002年至2011年，於「臺北兒童藝術節」中徵選兒童戲劇劇本的得獎作品集為參考範圍，探討當代臺灣兒童劇場文本的敘述技巧及其帶來的戲劇文本中劇場性的變化。
並列摘要
In The Poetics, Aristotle distinguished drama and epic in terms of their respectively 'performative' and 'narrative' expression in language. However, 'narration' is quite often roaming around theatrical texts. Viewing from the point of textual representation, is drama merely a performance or a narration in variant degrees? Can the application of narrative skill in play writing carry about diverse theatrical phenomena? Both issues deserve our closer attention. In the case of children's theatre, it was developed from the 1980s in Taiwan, which appeared largely distinguishable from the colonial period of Japan and the first thirty years of the Nationalist domination, and marched toward the theatrically professional-oriented 'children's theatre'. In the writing tacit of theatrical texts, the narrative skill rather consistently intermingled in its linguistic expression of the texts. What theatrical thinking does such writing tacit equipped with narrative substance bring about? Does it correspond to children's instinct for story? Is it related to the 'story telling and acting' performance which was promoted up from the Japanese colonialism and became inseparable from or undercurrent of its essence? Can we see the unique quality of interplay between telling and acting from the performing texts of contemporary children's theatre in Taiwan? And which new writing styles of texts and theatrical presentation are brought about? This essay is based on the study of A Life of Make-up and Acting: Anthology of Children's Literature, 1988-1998 edited by Professor Tzeng Shi-pa and the selected plays, which were awarded by The Taipei City Department of Cultural Affairs, from Taipei Children's Arts Festival dating from 2002 to 2011. It investigates into the narrative skill of the texts of Taiwan's children's theatre and its subsequent stage change through the theatrical texts.