從政治性劇場到使劇場政治性:波瓦被壓迫者劇場的實踐與歷程

From "Political Theatre" to "Make Theatre as Politics": Boal's Praxis and Theory of the Theatre of the Oppressed

謝如欣(Kelly Ju-Hsin Hsieh)

指導教授 ： 邱坤良

國立臺北藝術大學/戲劇學院學術論文/戲劇學系博士班/博士(2015年)

https://doi.org/10.6835/TNUA.2015.00033

摘要

本論文以波瓦(Augusto Boal)個人為中心，從他的思想、巴西戲劇史及巴西政治發展的歷史脈絡，重新檢視其戲劇歷程，並針對被壓迫者劇場(theatre of the oppressed)的理論與實踐方法，追本溯源地進行探究，以理解其美學與政治性戲劇理念的發展。

根據波瓦的定義，「政治性劇場」(political theatre)是劇作家的創作，它讓觀眾在劇中看到當下社會的問題，但最後的結局卻是由劇作家所做的決定，它只有單向的傳達而沒有對話；但「使劇場政治性」(to make theatre
as politics)則相反，它讓人民做故事的主人，透過戲劇中的提問，激發出各種新的想法，編寫出屬於自已的結局。被壓迫者劇場就是為了達到「使劇場政治性」的一項戲劇方法。

從主流劇場轉換跑道到民眾劇場(people’s theatre)，波瓦的戲劇歷程與南美洲的政治環境變化息息相關。解放思潮興起時，波瓦以魔幻南美風情的本土音樂劇，製造戲劇中的疏離效果，激起觀眾的政治意識。獨裁軍政掌權時期遭迫害而流亡異鄉，發展出被壓迫者劇場，影響全球應用劇場及民眾劇場領域。

全文分為四個部分，第一部分為萌芽期，由巴西戲劇史開展，從波瓦在巴西小劇場運動的地位與貢獻，探討當時代的政治環境與正風行的解放思潮，如何影響他的劇場生涯。第二部分是被壓迫者劇場的發生，在流亡生涯中，他決定以民眾劇場為一生志業，整理出一套被壓迫者劇場方法，讓觀眾透過論壇劇場(forum theatre)的取代演出，進行一項革命的預演，到了返回巴西後，因為當選里約熱內盧市議員，延伸出讓人民參與立法的立法劇場(legislative theatre)。第四部分則為被壓迫者劇場方法的完整理論與實務操作。

關鍵字

波瓦 ； 被壓迫者劇場 ； 巴西戲劇 ； 解放神學 ； 受壓迫者教育學 ； 弗雷勒 ； 巴西政治 ； 全球化

並列摘要

Inspired by his work of Legislative Theater, this thesis is a dedication to Augusto Boal (1931-2009), a respected Brazilian theater director, writer, politician, and an influential international speaker and teacher. With an up-close-and-personal observation of Boal and an in-depth investigation of his work, the study aims to provide a holistic view of Boal’s theory and praxis of Theater of the Oppressed. It is hoped that, through an intertwined examination of Boal’s philosophy, history of the Brazilian theater and political development in Brazil; readers would have an understanding of the aesthetics underlying Boal’s Theater of the Oppressed.

According to Boal, political theater is performing art which emphasizes a political issue in the playwright’s own right. It is a one-way communication, whereas legislative theater is ‘using performance to make politics’, an attempt to take action and make social change (personal communication, 2003). Having worked as a journalist, community volunteer, actor and playwright, I believe that an understanding and appreciation of Boal’s form of ‘people’s theater’ could bring about a truer democracy in society.

The thesis consists of four parts. The first part evolves from the historical review of Brazilian theater and Boal’s work with the Arena Theatre in Sao Paulo. The second and the third part focus on the context and the development of Legislative Theater. The former illustrates the construct of the theatrical methodology; the later arrays the real practices of Legislative Theater during Boal’s incumbency as Vereador (city councillor) of Rio de Janeiro. The last part provides a complete theory and praxis of Theater of the Oppressed.

並列關鍵字

Augusto Boal ； theatre of the oppressed ； brazilian theatre, liberation theology, pedagogy of the oppressed, Paulo Freire, brazilain politics, globalizaion

參考文獻

周武昌。《對話研究及其在教育對話文本的詮釋分析》。博士論文，國立臺北教育大學，2009。

Albuquerque, Severino João. “The Brazilian Theatre Up to 1900.” In The Cambridge History of Latin american Literature 3: Brazilian Literature Bibliographies, edited by Roberto Gonzalez Echearria and Enrique Enrique Pupo-Qalker, 105-125. Cambridge: Cambridge University, 1996.

___. “The Brazilian Theatre in the Twentieth Century.” In The Cambridge History of Latin American Literature 3: Brazilian Literature Bibliographies, edited by Roberto Gonzalez Echearria and Enrique Enrique Pupo-Qalker, 269-313. Cambridge: Cambridge University, 1996.

___.The Rainbow of Desires: The Boal Method of Theatre and Therapy. Introduction & Translated by Adrian Jackson. London: Routledge, 1995.

___. Hamlet and the Baker’s Son: My Life in Theatre and Politics. Translated by Adrian Jackson and Candida Blaker. London: Routledge, 2001.