簡莉穎劇作集中的「家」與「權力」敘事研究

本論文從簡莉穎劇本中歸納出的兩大議題：「家」與「權力」作為主軸，聚焦在目前已出版的劇本集《春眠》（2017）、《服妖之鑑》（2018）、《叛徒馬密可能的回憶錄》（2021）中關於此兩大議題的六齣劇作：《甕中舞會》、《春眠》、《全國最多賓士車的小鎮住著三姐妹（和她們的Brother)》、《服妖之鑑》、《叛徒馬密可能的回憶錄》、《遙遠的東方有一群鬼》為集中討論的對象。因為劇本多從台灣的歷史背景及社會議題切入，劇作的問題意識強烈。論文第二章先討論劇作中各種家庭的樣貌——典型家庭、多元組構及世代跨越，第三章爬梳當中的人際網絡，最後架構出權力結構並分析權力核心角色。以綜整六齣劇作如何敘事「家」與「權力」兩大主線。此外，簡莉穎的創作也以紮實的田野調查，以及重寫西方經典、借重歷史事件與文獻資料為著稱，第四章將分析六齣劇作的原型與改編。最後，第五章歸結簡莉穎的創作，並彙整兩大議題的敘事特色，期望透過分析劇作以突顯作為一位劇作家的創作精神、社會關懷與未來展望，是如何帶給觀眾與讀者思考，並藉由劇場和當今社會達成真正的對話。

關鍵字

簡莉穎；寫實主義；家；權力；田野調查；重寫經典；在地化

並列摘要

Pinpointing family and power, two main themes in Chien’s plays, as the axis, I focuses on six plays tacking these issues: The Party in the Womb, Sleep in Spring, Ok, My Dear Sisters, Dress in Code, The Possible Memoir of a Traitor. For Chien mostly construes and derives her plays from historical background and social issues in Taiwan, her plays are endowed with the clear problematic. In the second chapter, I examine the multifaceted configurations of family, typical, diverse and across generation, then in the third chapter I will parse the social network and analyze the power structure evolved from the previous examined configuration of family. After the analysis of the power structure within family, the spotlight will be thrown to the core characters in order to see how Chien interweaves family and power together in the narrative. Furthermore, Chien’s creation is noted with her substantial field research, rewriting of Western Classics, borrowing historical events and consulting related literature. In the fourth chapter, I will compare the original text and Chien’s adoption of these six plays. By chasing Chien’s playwriting trajectory, the fifth chapter concludes with Chien’s narrative characteristics in handling family and power in her plays. Through the analysis of Chien’s play, I wish to make lucid Chien’s original idea, social concern, and vision behind her play writing and to unravel how Chien engages audience and readers to critical thinking and achieve communication through the theater.