摘要
《第十二夜》裡的Viola遭遇船難，劫後餘生；與雙胞胎哥哥就此分離的她，決定女扮男裝，努力求生；卻因為「女扮男裝」，身陷性別錯置的三角戀情。難解的困境，在雙胞胎哥哥Sebastian出現之後，獲得皆大歡喜的圓滿結局。 本次演出中，我所扮演的角色「安安」脫胎於此。如何隨著經過「變奏」的文本加以「再現」角色、如何掌握角色在「變奏」後被賦予的「輕盈」質感、以及試圖打破過去的表演慣性，從嘗試、調整中，重新回首對於「表演」本質與工作方法的反思，是本次演出的挑戰。 《第十二夜》為人津津樂道於是「莎翁最成功的喜劇作品」。劇名「第十二夜」指稱中世紀的「主顯節之夜」，內蘊「狂歡氣氛」的指涉不言而喻。 本論文由此切入，從西方世界的「狂歡」傳統，溯源自酒神祭儀中，在「人──神」二元架構間，不停逡巡位移的丑角精神：顛覆與狂歡。藉此脈絡引申討論取材自《第十二夜》的《12》，落實於表演形式上，企圖追求「自由奔放」的「有機」狀態。接著，從日誌紀錄討論排練過程的工作方法，也就演出現場我所面臨的問題與處理方式加以分析、檢討。
並列摘要
In the original script of “Twelfth Night” by Shakespeare, Viola was shipwrecked and survived. Being separated from her twin brother, Sebastian, Viola decided to disguise as a boy to make a living. However, the disguise made her fall into an unusual triangular relationship with sexual confusions. This difficult situation was eventually solved perfectly in a happy ending with the appearance of Sebastian. In the performance of “12,” my character, An-an, was evolved from Viola. I think the most challenging tasks in this performance are how to “reproduce” the character in a “variation” of the original play; how to handle the “light” quality given to the character in this “variation;” and how to break the habits in my past acting and thus review the nature of acting and methods of rehearsal works in preceding attempts and adjustment. “Twelfth Night” has been praised as the “most successful comedy by Shakespeare.” The name “Twelfth Night” refers to the Epiphany in the medieval times. Therefore, the implications of “carnival atmospheres” are thus self-evident. This report will start from this point to study the western tradition of “carnival” and to trace the source of the spirit of clowns that have kept shifting between the duality of “man/god” back into the rituls of Dionysia: subversion and revelry. This context will be extended to discuss the “organic” performing state which was sought by the director in the “12,” which was born out of the “Twelfth Night.” It was an attempt to find a “free and unrestrained” acting style. After that, the report will examine the working journals to discuss the methods of works in the rehearsal progress, and will then analyze and review the problems which I faced during the performance and the ways in which I dealt with these problems.