遙遠的契訶夫－契訶夫小說轉譯劇場

The Distance between Anton Chekhov and Us－Transform Anton Chekhov’s Novel into Theatre

魏妏潔(Wen-Chieh Wei)

指導教授 ： 馬汀尼

國立臺北藝術大學/戲劇學院展演書面報告/劇場藝術創作研究所導演組/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00134

摘要

本篇創作報告針對導演《明天會是好天氣嗎》一劇，從創作緣起到整個製作過程的實踐與困難，以及演出結束後的檢討、反省與延伸探討。主題圍繞著「契訶夫」、「小說轉譯劇場」、「劇場裡的敘述」，全篇分為四個部分：

第一部分描述我與契訶夫之間的關聯性，透過我個人的生命體驗，描繪契訶夫之於我的意義，以及他的作品能夠打動人心的魔力，最後促使我選擇轉譯契訶夫小說做為我的畢製劇場作品。

第二部分描述我的創作動機與企圖，小說裡的人物情感如何與現代觀眾連結；如何以契訶夫小說的素材為基底，在現代的情感座標下，勾勒這齣戲；以及如何在劇場呈現契訶夫小說最特別的角色－敘述者。

第三部分討論本劇在劇場的實踐，小說轉譯劇場的詩意（敘述）與戲劇（情節）的並存，各設計部門的劇場視聽覺元素的使用與結果，以及討論劇場中敘述與情節的平行剪接、蒙太奇、跳躍等手法的運用。

第四部分是將我在本劇遭遇的最大難題－表演，拉出來獨立討論，描述實際的困境、處理方式與演出結束後的反省與思索，並整理出這次在「小說轉譯劇場」的實作方法，做為一種可能性提供給讀者參考。

關鍵字

契訶夫 ； 小說轉譯劇場 ； 劇場裡的敘述

並列摘要

This report will discuss the motivation, the practicing, and the difficulties encountered in the production of the play Will Tomorrow Be a Nice Day. It will also review the result of the performance and do some further discussions about. The topic will be focused on “Anton Chekhov”, “the adaption from novels to theater”, and “the narrations in theater”. The report is divided into four parts:

The first part will describe the relationship between Chekhov and me. Using my own life experiences, I will portray the meaning of Chekhov to me and the magic of his touching works, which inspired the adaption of Chekhov’s novels as my graduation production.

The second part will state the motivation and the objective of this production. This part will discuss how to relate the emotions of the characters in the novels to the audience nowadays, how to use the materials from Chekhov’s novels as the foundation to perform this play under the feeling coordinates in modern time, and how to present the most special character in Chekhov’s novels “narrator” in theater.

The third part will discuss the practicing of this play in the theater. The topic will include the coexisting of the poetic narrations and the dramatic plots in the theater adapted from novels, the using and the outcome of the visual and the audio elements in various theatrical design aspects, and the exploiting of the skills like parallel editing between narrations and plots, montage, and jump cuts in theater.

The fourth parts will isolate the discussion of the major problem I encountered in the production of this play – acting. This part will discuss the practical difficulties, the addressing of these difficulties, and the reviews and the thoughts after the performance. Finally, I will summarize my practices in this “adaption from novels to theater” as a possible solution for the readers to refer.

並列關鍵字

Anton Chekhov ； adaption from novels to theater ； narrations in theater

參考文獻

廖俊逞，〈從波赫士到馬奎斯－文學轉譯劇場的想像與實踐〉。臺北，國立臺北藝術大學劇場藝術研究所碩士論文，2006。

專書

史坦尼．斯夫拉斯基著，黃鳴野、李庄藩譯，《《海鷗》導演計畫》。北京，中國電影出版社，1982。

史坦尼．斯夫拉斯基著，瞿白音譯，《我的藝術生活》。臺北，書林出版，2006。

史朗寧著，張伯權譯，《俄羅斯文學史》。臺北，楓城出版社，1975。