走出卡夫卡的房間－分析「當代傳奇劇場」《蛻變》

從文本到劇場的舞台演出即為一種再現（representation），透過這個再現的過程，我們可以看出作為一個舞台的演出與原來文本的差異、背後所透露的文化意涵、以及舞台藝術所帶出的意境。卡夫卡的《蛻變》小說當中，場景的設定不脫離主人翁的房間、以及他的家。「當代傳奇劇場」的《蛻變》舞台，除了把這個房間，形塑成一個舞台符號，也更多地跨出物理空間的限制，而呈現主人翁的心理世界的流動。《蛻變》所引發的美感歷程，既是東方的、也是西方的，既是虛擬的、也是真實的。精神層次來說，《蛻變》仍保有中國傳統戲曲的一桌二椅，演員透過程式化的動作表現內心的衝擊。意象化的劇場，透過舞台上的意象符號，彌補了小說中第三人稱全知全能的㔀述觀點。從字義名稱上來說，蛻變的六幕《夢》、《醒》、《門》、《愛》、《禁》、《飛》，每一個都是一個符號，每一個都可以對觀眾的個人情感產生某種程度的連結。從舞台的場景來看，除了小說中所㔀述關於人異化為蟲子、門的意象，更深入地探索主人翁內心世界的追尋：從開天闢地回到宇宙的起源開始、從一滴水墨滴下來演化出一個故事。透過舞台符號的隱喻與轉喻，觀眾走出卡夫卡所設定的房間，與葛里戈所變成的大蟲子產生距離。文本故事的結尾，蟲子死了，葛里戈的妹妹與爸媽過著童話般幸福的生活。劇場舞台的結尾，吳興國先生作為一個演員，在最終也得到他個人的救贖－自由。

關鍵字

劇場符號學；當代傳奇劇場《蛻變》舞台空間

並列摘要

From text to stage performance is a process of representation. Through this representation, the differences in between are exposed, including cultural connotation and artistic conception. In Kafka's Die Verwandlung, the audience was introduced into the protagonist's room and the place he lives. Yet on the stage of Metamorphosis adapted by Contemporary Legend Theatre, the audience was invited to walk out of the room and to take a journey into Gregor's inner world. The aesthetics in the stage performance is both oriental and also western, both virtual and realistic. The spirit of the performance is still one table and two chairs in Chinese opera tradition but through the "formula" of the acting, the audience was brought into the impact of the heart, and this is like the omniscient and omnipotent point of view in the fiction. Literally speaking, the six acts: A Dream, The Awakening, The Door, Love, Inhibition, and Flying are all symbols, each of which can reflection of the viewer himselves. What the audience saw in the stage world was even further than that in the description in the fiction. Through the symbols, the audience walked out of the room and alienated themselves from the world of the protagonist. At the end of the fiction, the family had a happy life ever after. On the stage, the actor was free from his own destiny.

並列關鍵字

theatre semiotics ； The stage performance of "Metamorphosis"

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