本篇論文將以「包法利夫人們」這齣戲為主,透過筆者自身的工作經驗以及事後的反省分析來討論面臨林奕華這樣一位具有強烈社會批判性的導演,要如何調整表演方法來達到自我批判以及社會批判的作用。 全書分為五個章節,第一章著重在介紹導演林奕華的作品特色以及福樓拜的包法利夫人這本書,第二章開始進到「包法利夫人們」這齣戲在正式排練之前的工作坊,詳細描述導演如何透過工作坊來讓演員對這次要進行的議題有所了解,並進一步開始從議題切入來進行自我批判,再從自我批判延伸到社會批判。第三章會描述香港時期的排練過程以及演出方式,並挑選我的主戲片段然後條列式的分析我在表演上如何處理。第四章則把焦點放在這齣戲移師到台灣後,經過了一段時間的沉澱,我如何修改表演的質感並重新詮釋。第五章是自我的省思與審視,在歷經兩岸三地長期巡演過後,回顧整個排演過程到演出時的修改,檢視身為一個演員在面臨這樣一種直入社會脈絡中利用集體即興而形成的劇場,自己在表演質感以及心態上是如何轉變,進一步思考是否有更多修改的空間。
This thesis analyzes how the researcher, an actor, achieves both self-criticism and social-criticism when working with the director Edward Lam, who is strongly social-critical, through reflecting on the working experience as the actor in the play “Madame Bovary Is Me”, inspired by the French writer Gustave Flaubert’s novel “Madame Bovary”. The thesis is divided into five chapters: The first chapter introduces the characteristics of the director Edward Lam’s works, and Gustave Flaubert’s novel “Madame Bovary”. The second chapter presents the workshop before rehearsal with the details how Edward Lam raises issues in the workshop and leads actors/actresses through the journey from self-criticism to social-criticism. The third chapter describes how we rehearsed in Hong Kong, and analyses how I dealt with my performance. The forth chapter focuses on how I reinterpret my role when the play is on tour to Taiwan. The fifth chapter portraits the reflection-after-acting process of touring among, Hong Kong, Taiwan and Mainland China for two years. The changes I examine include the actual acting on the stage and the guiding concept from becoming a character to interpreting a character behind the stage. In the end, this thesis is to explore possibilities to find more connections between the social context and my performance. as I was involved in a group improvisation.