布萊希特「疏離化」手法在二十世紀音樂中的實踐

The Practice of Bertolt Brecht’s Verfremdungseffekt in the Twentieth Century Music

蔡育昇(Tsai, Yuh-Sheng)

指導教授 ： 王美珠

國立臺北藝術大學/音樂學院學術論文/音樂學系博士班/博士(2017年)

摘要

二十世紀是一個多變且快速發展的時代，歷史上幾乎沒有任何一個時代或地域的變化能夠與其相提並論。正因為這種快速的變化，一種混亂的狀態不斷地在醞釀發酵，驅使人們追求物質、價值與思想的突破。在每一個世代所建立的基礎與理論觀點上不斷嘗試、接受、詮釋的過程中，往往會帶來某種意外的秩序，特別是在與文學、美術或戲劇等文藝領域的互動交流所形成的秩序，同時也為音樂創作帶來前所未有的探索之看法。
本文從西方戲劇理論的論點與思想出發，透過樂曲分析、語義結構分析，探討二十世紀音樂（Twentieth century music）蘊涵的一種強烈表現因素與戲劇性特質，以及崇高的精神內涵；特別是自古希臘亞里斯多德（Aristotle）《詩學》的「淨化」（Katharsis）觀點後，關於德國詩人、戲劇家與戲劇評論家貝托爾特．布萊希特（Bertolt Brecht）的「史詩劇場」（Epic Theatre）中的「疏離化效果」（Verfremdungseffekt）的觀點。
布萊希特「史詩劇場」中的「疏離化」手法的倡議主要建立在當時對於傳統、在亞里斯多德在《詩學》中爲戲劇體裁所界定標準而創作的戲劇之審視與反對立場。他將這個論點具體實踐在他的創作與表演上，同時也在1920年代開始將他的理論、理想與實驗提供給作曲家庫特．懷爾（Kurt Weill）、漢斯．艾斯勒（HannsEisler）與興德密特（Paul Hindemith）一個全新的創作觀點，聯手打造一種全新的劇種（也同時是一種全新觀點的樂種），實驗出一個觀眾可以積極參與其中的新藝術，也解決了這些在創作、詮釋與接受之間所產生的問題，將為音樂創作帶來前所未有的探索。
這是一個音樂思想的探索，也是美學上的意圖，將這個思想與意圖完整地透過西方戲劇理論體現音樂的多樣性，特別是布萊希特「史詩劇場」中的「疏離化」手法對應於史特拉汶斯基（Igor Stravinsky）、興德密特與阿弗烈德．施尼特克（Alfred Schnittke）的音樂作品，作為戲劇理論在音樂上的實踐研究，探討對象不只是戲劇音樂內容，還包括音樂創作手法與音樂創作的美學，目的在使聲音的語彙組織變成一種可能性關係的系統，以及附加在聲音本質的連結。除了對於作品本身、歷史源流的探討外，也試圖探討美學上的意義。這使得我們對於音樂的歷史、音樂作品的理解與興趣，不只是單純地對於這些材料本身「從何而來，到何處去？」的追尋探究，而是這些作為音樂思想與美學價值的事物本體具有任何的意義，而且這些意義持續地、直接或間接地、高度接受性地產生偌大的影響力。

關鍵字

布萊希特、疏離化效果、史詩劇場、二十世紀音樂、音樂心理學、音樂語義學

並列摘要

The Twentieth century was an ever-changing and swift progressing era. No other time or place in history is as rife with change. Constant confusion arose from the rapid changes, driving people to seek breakthrough in materials, values, and beliefs. The process of experimenting, receiving, and interpreting the theoretic perspectives of an era often brings forth an unexpected order, especially when interacting with the fields of literature, arts, or dramas, providing new perspectives for musical creation.
Starting off from the western perspectives and beliefs on dramatic theory, and employing musical and semantic analysis, we studied and analyzed the strong performance materials and dramatic characteristics contained in the Twentieth century music and its spiritual qualities. Our main focus was on the “Verfremdungseffekt” (Alienation Effect) Perspective from the “Epic Theatre” by German poet, playwright and drama critic Bertolt Brecht, as contrast to the traditional Catharsis perspective suggested by Aristotle’s “The Poectics”.
In Brecht’s “Epic Theatre”, “Verfremdungseffekt” (Alienation Effect) was proposed as an examination and opposition to the traditional dramatic approach and standard defined by Aristotle’s “the Poetics”. Brecht not only practiced this approach in his own drama works, he also shared his theory, beliefs, and experimentation with composers Kurt Weill, Hanns Eisler, and Paul Hindemith, opening up a brand new creative perspective for them. He also worked with them to create a brand new dramatic genre (also a new music genre) in which audience can participate actively, and difficulties among creation, interpretation and reception are solved, opening up a brand new direction for musical creation.
In this study, both the musical beliefs and the aesthetic intentions were examined. These beliefs and intentions were analyzed against the western drama theories to show the diversity of music. In particular, we studied the practice of Brecht’s “Verfremdungseffekt” (Alienation Effect) approach in the music works of Igor Stravinsky, Paul Hindemith, and Alfred Schnittke. Both the music content and the creative approach and aesthetics were studied to turn the lexical organization of sounds into a meaningful system. We studied not only the music works and their historical backgrounds, but also their aesthetic connotations. We were interested in more than just the history and the music, more than just the origin and direction of the materials. We were also interested in the meanings of the musical beliefs and aesthetic values and how these meanings continued, either directly or indirectly, to be received and to make strong impact.

並列關鍵字

Bertolt Brecht, Verfremdungseffekt (Alienation Effect), Epic Theatre, Twentieth century Music, Psychology of Music, Semantics of music

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