論《輪舞》之戲劇理念

有關《輪舞》這篇論文主要重點是討論亞瑟‧薛尼茲勒的戲劇理念，內容首先針對這齣戲的主要劇情架構做了說明，從劇中十個人物在這劇中的十場戲，以及男人與女人的對話的關係，十個劇中的人物有士兵、年輕男人、丈夫、詩人、伯爵、妓女、女僕、已婚女人、甜美小姐、女演員等十位角色，劇情的演變就像在舞會中的交換舞伴一般，輪過一位舞伴之後，又迎接下一位共舞，如此輪轉下去就變成一個圓形，也成了創作的名稱《輪舞》。《輪舞》全部為兩人一組的對戲，十組的對戲分別為妓女與士兵、士兵與女僕、女僕與年輕男人、年輕男人與已婚女人、已婚女人與丈夫、丈夫與甜美小姐、甜美小姐與詩人、詩人與女演員、女演員與伯爵、伯爵與妓女，共產生了十場的戲，《輪舞》劇中的「性愛」是主要的主題，而本論文對於劇中人物的對話、人性的描寫、當時布爾喬亞的時代背景，以及角色心理方面的象徵符號，來進行分析與討論。

關鍵字

輪舞；布爾喬亞；輪轉；性愛；象徵；舞台

並列摘要

The main purpose of this thesis is to discuss the performing idea of Authur Schnitzler. At first, it expresses the story structure. There are 10 characters, 10 plays and 10 relationships. The 10 characters include a solider, a young gentleman, a husband, a poet, a count, a prostitute, a housemaid, a young Woman, a sweet girl and an actress. The story goes forward just like a round dance: dancing partner changes one after another. In the ”Reigen”, the ten plays are the prostitute with the soldier, the soldier with the housemaid; the housemaid with the young gentleman; the young gentleman with the young woman; the young woman with the husband; the husband with the sweet girl; the sweet girl with the poet; the poet with the actress; the actress with the count; the count with the prostitute. Sex is the key subject in this drama. However, the thesis also analyses and comments on the dialogues between characters; humanity: symbol of psychology and the background of Bourgeoisie.