真實與虛幻的橋梁―以果陀劇場《巴黎花街》之歌隊為例談歌隊在劇場中之使用方法與詮釋

在戲劇表演中，除了主要角色，有另一種評論者和敘事者角色，必須交由群眾演員來扮演；這樣的角色，稱之為「歌隊」。歌隊從最早的古希臘悲劇開始被大量使用在劇場表演形式中，而經過長久的藝術演進，歌隊的使用衍生出了更多種的面相，他們通常沒有名字，他們代表的是一個全體或一個精神，他們也可能代表觀眾、社會、或是像神一般全之的視角，也可能只是那些真正被蒙在鼓裡的一般人，他們就像導演和劇作家的嘴巴，透過他們直接和觀眾溝通著一些什麼。而在表演的形式上，包含語言、舞蹈、音樂、歌唱等等各種多元的形式，在劇場裡歌隊的運用模式以及所賦予的意義是相當值得被研究及探討的，而對於導演者而言，歌隊的運用是一門進階的功課，不僅僅是人數上的增加，也關乎視覺畫面、精神傳達、場面調度和用更多元的方式述說一個故事。在此次研究中將以果陀劇場的《巴黎花街》中的歌隊為研究對象，從表演形式上去探索有無更多變化的可能性，探討在每個場景之中歌隊的使用方法。

關鍵字

巴黎花街；戲劇；歌隊

並列摘要

In the theatre performance, in addition to the main characters, there is another type of character who act as commentators and narrators by a group of actors and actresses; this role, called "chorus." Chorus has been widely used from the earliest ancient Greek tragedy in theater performances. Through a long artistic development, the usage of chorus has spawned in many different ways. They usually do not have names, and they might represent everything, a spirit, the audiences, a society, an omniscient perspective as God, or just the normal people who are in the blind side. They are like the mouths of director and playwright which communicate directly with the audience during a performance. In the forms of performances, there is a variety of diverse forms, such as language, dance, music, singing, and so on. In the theater, the usage of the chorus and the meaning which is given to the chorus are quite worth to be studied and discussed. However, from the aspect of a director, the usage of chorus is not just a challenging work, but it is also about visual pictures, transmission of spirit, scene scheduling, and diverse ways of telling a story. In this study, "Irma La Douce," which is produced by Godot Theatre Company, will be discussed the varied possibilities of performance’ forms and will be explored the usage of chorus in every scene.