在沙特的《沒有出口》與品特的《啞巴侍者》中的存在思想與戲劇技巧之比較

Existential Thoughts and Dramatic Techniques in Jean-Paul Sartre’s No Exit and Harold Pinter’s The Dumb Waiter

黃婉綾(WAN-LING HUANG)

指導教授 ： 林欣瑩

國立中正大學/文學院/外國語文學系/碩士(2016年)

摘要

本論文旨在透過比較尚•保羅•沙特(Jean-Paul Sartre)的《沒有出口》(No
Exit)與哈洛•品特(Harold Pinter)的《啞巴侍者》(The Dumb Waiter)，引導讀者
們了解存在的意義和生命價值的重要性。在研究兩位作者之後，本論文提出，
他們相似的經歷和社會背景使得他們對於生存的問題有著相似的思考：無論沙
特或品特，都企圖促使人們能自我反思和自我定義。
關於本篇論文所使用的方法，存在主義(Existentialism)將被應用於分析沙特
的《沒有出口》；而荒誕主義(Absurdism)則被應用於分析品特的《啞巴侍者》。
本篇論文分為兩章，分別描述這兩部戲劇作品呈現人類處境的相似樣態但採用
不同的戲劇技巧。
第一章分為四個部分去檢視兩本劇本所呈現出的生存問題之相似之處。第
一部分著重於探討監禁的主題，主要探討所有角色都被限制在一個密閉的空
間。在第二部分，著眼於討論角色與角色間的疏離感。第三部分著重於探討從
外在而來的未知力量。第四部分會分析角色們過著沒有目標的生活和等待著不
可預知的未來。透過檢視這些相似之處，讀者們可以了解到，沙特和品特都致
力於呈現人類生命價值的困境。
第二章分為三個部分去分析沙特和品特的兩本劇本採用了不同的戲劇技
巧。第一部分會討論沙特的《沒有出口》之邏輯的方法運用，以及品特的《啞
巴侍者》之不合邏輯的方法運用。第二部分闡述人類處境所遭遇到的人際問
題，即是沙特的《沒有出口》著重於角色間轉變的關係，其中包括自我欺騙、
自我定義、與和解。相比之下，品特的《啞巴侍者》著重於等級制度、語言、
與階級的反抗。第三部分則討論兩本劇本的結局。具體而言，《沒有出口》有著
既定且明確但又帶有希望的結局；反之，《啞巴侍者》則是開放式的懸疑結局。
也就是說，對於人類生存所遭遇到的問題，沙特確切地呈現給讀者解決方法；
而儘管品特旨在引導讀者們反思存在的意義，卻沒有為讀者提供一個明確的解
決答案。
總之，儘管沙特和品特使用了不同的戲劇技巧，但兩位作者的目的是相同
的，即是皆意圖激發讀者思考生命存在的意義，並強調自我追求和肯定自我價
值的重要性。

關鍵字

尚•保羅•沙特 ； 《沒有出口》 ； 哈洛•品特 ； 《啞巴侍者》 ； 存在主義 ； 荒誕主義

並列摘要

This thesis aims to compare Jean-Paul Sartre’s No Exit with Harold Pinter’s The Dumb Waiter to guide readers to realize the importance of existential meaning and self-worth. After researching the two authors, Sartre and Pinter, I propose that their similar experiences and social backgrounds made them think about existential problems. Both Sartre and Pinter attempt to enable individuals to be self-reflexive and self-definitive.
Regarding the methodology used, I apply existentialism to analyze Sartre’s No Exit and apply absurdism to analyze Pinter’s The Dumb Waiter. This thesis is divided into two chapters, each describing the methods to discuss the human situation and theatrical techniques in these two plays.
Chapter One is divided into four parts examining the similarities of the
existential problems in the two plays. Part One focuses on the theme of imprisonment because the characters are confined to an airtight room. In Part Two, the alienation of characters is discussed. All of the characters in No Exit and The Dumb Waiter are alienated from one another because they refuse to communicate mutually. Part Three focuses on the unknown power out of the imprisonment room. All characters are controlled by an unknown power; this strains their mental states. In Part Four, the characters’ aimless life and unpredictable waiting are analyzed.
Chapter Two analyzes the techniques Sartre and Pinter use to present the
problems of the human situation. I divide the chapter into three parts exploring different theatrical techniques in the two plays. In Part One, the concept of logic of Sartre’s No Exit and the concept of illogic of Pinter’s The Dumb Waiter are discussed. Part Two explores the interpersonal relationships of the human situation. Sartre’s No Exit focuses on the change of characters’ relationships that include self-deception, self-definition, and reconciliation. By contrast, Pinter’s The Dumb Waiter focuses on hierarchy, language, and the resistance against hierarchy. Part Three focuses on the
different ways of endings in the two plays; specifically, the hopeful ending in No Exit and the suspense ending in The Dumb Waiter. That is, Sartre exactly presents to readers the encouragement to the existential problems. However, Pinter does not provide readers with an explicit resolution, even though he aims to guide readers to ponder over its existential meaning.
In conclusion, although Sartre and Pinter use different techniques, the purposes of the two plays are the same: to motivate readers to contemplate the significance of existential meaning, and also to emphasize the importance of self-pursuit (and henceforth to affirm one’s self-worth).

並列關鍵字

Jean-Paul Sartre ； No Exit ； Harold Pinter ； The Dumb Waiter ； Existentialism ； Absurdism

參考文獻

I. Primary Sources

Pinter, Harold. The Dumb Waiter. London: Samuel French, 1960. Print.

Sartre, Jean-Paul. Being and Nothingness: An Essay on Phenomenological Ontology. Trans. Hazel E. Barnes. London: Routledge, 1991. Print.

II. Secondary Sources

Bradby, David. Modern French Drama 1940-1990. New York: Cambridge UP, 1991.