「新女形」——試論坂東玉三郎的女形表演美學

在「尋找女形的傳統與其他表演形式的連結」這一企圖的驅動之下，當代歌舞伎女形演員坂東玉三郎先是沿著歌舞伎發展與變遷的路徑，進行一趟由歌舞伎到新派、新派到翻譯劇、翻譯劇到電影表演的日本近代戲劇史追溯之旅，接著便開始將女形的表演版圖與疆界拓展至芭蕾、與外國藝術家的合作與崑曲等新的領域當中，並以在各個領域中的所學，與其自身顛覆傳統的身體特質、獨特藝質與美學觀相輔相成，回過頭來在歌舞伎表演中注入新的刺激，不僅為女形表演開創了新的可能，也豐富了歌舞伎舞台的風景。而使之女形跨界演出之旅成為可能的，正是日本古典藝能本身存有的特性：創造性繼承、多樣性與重層性。坂東玉三郎的女形跨界演出之旅，雖離開了歌舞伎的舞台，卻並未離開歌舞伎的美學和精神，而是在日本藝能的優沃土壤中，實踐著其自由、開放、多元的新女形表演美學。

關鍵字

坂東玉三郎；歌舞伎；女形；日本舞踊；《鷺娘》；新派；泉鏡花；重層性

並列摘要

Under the drive of trying to "finding the link between the onnagata tradition and other forms of theater," contemporary onnagata, Bando Tamasaburo, started his experiment by making a journey tracing back to the development and change of Kabuki, in which he went from Kabuki to Shinpa, from Shinpa to translated plays, and then into film acting. After that he began to broaden the boundary of onnagata performance into new areas such as ballet, cooperation with foreign artists and Kunqu. Furthermore, he complemented what he learned from these experiences to his own subversive, unique characters and aesthetic concepts, brining new stimulus to his kabuki performance, not only created new possibilities to onnagata performance but also enriched the picture on kabuki stage. And it is actually the existing characters in traditional Japanese theater that enables his cross-disciplinary onnagata performance: creative inheritance, diversity and multiplicity. Bando Tamasaburo's journey of cross-disciplinary onnagata performance left kabuki stage, but it didn't leave the aesthetics and spirit of kabuki. He keeps practicing his new onnagata performing aesthetics of freedom, openness and plurality in the rich ground of Japanese theater.