此創作報告的目標有二,其一是紀錄於2013年3月演出的研究所畢業製作《911》的導演工作始末。演出文本是法國當代劇作家維納韋爾(Michel Vinaver)的劇作,其自創獨特的「複聲合調」(polyphonie)編劇策略,獨樹一幟,同時也為「導演劇場」設下了挑戰。其二則是,說明此階段在創作上的困惑與導演嘗試,以及我對於「文本與導演」、「演員與觀眾」、「劇場與政治」的思考。 以下為大致的章節內容:第一章,旨在說明為何選擇此劇本、此劇之於我的連結何在,並介紹劇作家維納韋爾的背景與創作風格;第二章,透過文本分析,理解「複聲合調」的結構特色,試圖尋找導演詮釋的方式;第三章,說明導演此次創作的理念想法,並紀錄與劇場各環節部門的激盪、溝通與工作的過程;第四章,在演出之後,經過時間的沉澱與整理,重新回顧、檢討與反芻;最後,附錄本次工作過程的相關文件、演後評論與參考書目。
This practice-based dissertation has two purposes. One is to document the working process of my MFA graduate production, which is based on French playwright Michel Vinaver’s play 11 Septembre 2001/11 September 2001. Vinaver is known for his unique innovation of ‘polyphonic dramaturgy’ that challenges traditional methods of directing as well as requires innovations on the director’s part. The second purpose of the dissertation, therefore, is to present my reflections on the directorial challenges in the process as well as my thoughts about the methods of directing a text, actor-spectator relationship and politics in theatre. The dissertation consists of four chapters and an appendix. The first chapter explains the text selection process, my personal connections to the text, Vinaver’s background information and his dramaturgy. The second chapter demonstrates the compositional features of the ‘polyphonic dramaturgy’ of 11 Septembre 2001/11 September 2001 through textual analysis and the process of deciding the directorial rationales. The third chapter presents my ideas on directing the play and documents the collaboration with other theatre designers, dramaturg, and actors. The fourth chapter is my post-production reflection and reevaluation on the whole directing process. Finally, the appendix includes related documents of the production, reviews and the reference bibliography.