莎士比亞名劇之當代再創作：《李爾在此》的『後設』導演手法與跨界表演之研究

激烈改編西方經典名劇在1980年代的臺灣實驗劇場運動興起後，早已成為本地導演施展天賦的一大利器。藉由另類表演風格，或改編、重寫如莎士比亞等西方經典劇作，臺灣前衛導演前所未有的取代了劇作家，企圖在經典名劇的基礎上作出與西方傳統截然不同的詮釋和全新的演出形式。其中，吳興國一手創立的「當代傳奇劇場」（The Contemporary Legend Theatre）可說是臺灣改寫莎劇最負盛名的前衛劇團。身兼編、導、演於一身的京劇名角吳興國，其早期的莎劇搬演如《王子復仇記》（Hamlet）、《慾望城國》（Macbeth），都是借莎士比亞的手行革新京劇之實，這時的改編是以莎劇為表、京劇為骨，只是將時代背景、人物服裝、語言文字與表演程式……等更換成東方元素，實驗京劇現代化的可能性。然而，近期的《李爾在此》則已經跨出傳統戲曲實驗的小圈子，融入後現代劇場、單人秀、舞蹈、默劇等其他表演藝術的元素，同時又保留京劇程式的精華。除此之外，吳興國更將東方文化對於生命、年老、瘋狂、背叛等省思融入劇中，使主題擴大為跨文化、普世性的關懷，吳興國對於莎劇已經不是早期的挪用／影射原著，而是切合當代人文精神的重寫／再詮釋。本文擬針對「當代傳奇劇場」最具實驗性之另類莎劇作品《李爾在此》，檢視該團之創作靈魂人物吳興國的改編策略與表導演手法。本文的主要研究核心有二：（一）挖掘在《李爾在此》作品中，吳興國是如何以莎翁原著與他自己的戲劇人生相互對照，為新版的《李爾王》找到一種充滿「後設劇場」（metatheatre）風貌的全新的演出形式與改編文本；（二）不同於以往當代傳奇劇場的其他莎劇改編作品，《李爾在此》的表演風格也獨出一幟，是故本計畫第二個研究核心是探究吳興國如何以傳統京劇的程式行當表演為底蘊，又雜揉西方各種不同表演形式於一爐，創發出一種全新的莎劇跨界表演風格。

關鍵字

莎劇表演；李爾在此；吳興國；莎劇導演；莎劇演員；跨界表演

並列摘要

Since the rise of Taiwan's experimental theatre in the 1980's, radical adaptation of Western classic plays has long become a potent means to showcase local directors' talents. Through alternative performing styles, adapting or rewriting Western classics like Shakespeare, Taiwanese avant-garde directors have unprecedentedly took the place of playwrights, with an attempt to achieve a distinct interpretation and novel performing style sharply from western conventions on the basis of classic plays. Among them, The Contemporary Legend Theatre founded by Hsing-kuo Wu is the most well-known troupe in adapting Shakespearean plays. A combination of playwright, director, and actor, Wu's earliest Shakespearean plays such as Hamlet, and Macbeth, are in essence reinvention of Chinese Opera by the works of the master playwright. Such adaptations take Shakespearean plays as the skin, and Chinese Opera the flesh, with only the time setting, costumes, language and acting formula substituted by Oriental elements to experiment on the possibility of modernizing the ancient Chinese Opera. However, the recent production of King Lear has stepped outside the confinement of traditional opera experiments, and merged in post-modern theatre, one-man show, dance, pantomime and other performing arts elements, and at the same time kept the gist of the Chinese Opera formulae. Moreover, Wu blends Oriental reflections on life, aging, insanity, betrayal and other subjects into his plays, thus expanding the themes into cross-cultural, universal concerns. His Shakespearean adaptations are no longer appropriation/insinuation of the original at the earlier time, but reinterpretations that fit the contemporary humanistic ethos. This research project will explore the adaptation strategies and acting/directing techniques of the creative soul of The Contemporary Legend Theatre, Wu Hsing-kuo, in his most experimental rendition of the Shakespearean play-- King Lear. There are two main research goals of this project: first, exploring how Wu by juxtaposing Shakespeare's original play with his own theatrical life in King Lear finds a brand new meta-theatre performing style and adaptation of the new King Lear; second, different from other Shakespearean adaptations by The Contemporary Legend Theatre in the past, King Lear features a unique acting style; therefore, the second focus of this research project is to delve into Wu's creative process of a whole new cross-border Shakespearean performing style through mixing a variety of Western performing elements on the basis of traditional formulae and ingredients of the Peking Opera.

並列關鍵字

Shakespearean acting ； King Lear ； Hsing-Kuo Wu ； Shakespearean director/actor ； cross-border performance

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