- 期刊
戲劇與哲學：以沙特與貝克特為例
Theatre and Philosophy: Sartre and Beckett as Examples
摘要
從1940到1960年代，可算是法國現代戲劇的黃金年代。但主要指的並非是這個時期的創作蓬勃發展，而是因為它產生了不少重要的、有影響力的作品。是歷史背景或其他原因的影響下，給了法國戲劇新的活力？這個時期的法國戲劇又有何特殊性？本論文要以沙特（Jean-Paul Sartre）與貝克特（Samuel Beckett）為例，探討這個時期具代表性的兩種劇場。儘管兩者的戲劇作品無論是在主題內容與表現風格上都大相逕庭，但他們的共通點在於藉由戲劇作品表現人類的存在問題與生存狀況。存在主義思想的先驅齊克采（Søren Kierkegaard）曾說：不同於抽象思維的工作在於─以抽象方式理解具體，相反的，主觀思想者（或存在主義者）的任務則是─以具體的方式理解抽象。不論是沙特或是貝克特，他們的戲劇都是用具體來幫助我們理解抽象。這也是為何我將藉由存在主義的觀點，分析比較他們的異同之處。換言之，這個研究的主要目在於指出兩者的戲劇中，各自不同的存在主義思想與越界書寫的特色。但同時也要釐清存在主義哲學（做為一種哲學思潮）與所謂存在主義戲劇的關連性。透過這個比較研究，我們試圖說明戲劇超越哲學的現象。更明確來說，是戲劇如何，矛盾地，成為存在主義哲學的最佳傳播者（代言人）。或者說，前者，作為一種視覺表陳藝術，或許比任何其他表現方式，更能忠於後者的核心理念。其中就沙特的戲劇部分，分析的作品包括《蒼繩》（Les mouches, 1943）與《污穢之手》（Les mains sales, 1948）；貝克特的劇作則為：《等待果陀》（En attendant Godot, 1952）及《哦 美好的日子》（Oh Les beauxjours, 1963）。
並列摘要
From the forties to the sixties of the 20th century, this period can be called the golden age of modern French theatre. It is less because of the abundance of new plays, than because of the birth of many important and influential plays. If it is the historical background who gives a kind of new energy to the French theatre? Or there are other reasons to explain this phenomenon? And what is the particularity of the French drama in this period? I take Sartre's and Beckett's theatres for example for revealing two kinds of representative theatres of this period. Though these two theatres differ extremely in content and in form, they have something in common. Both of them try to show us the problems of existence and the condition of humanity. Søren Kierkegaard, the precursor of the existentialism, says that whereas the abstract thinking devotes to understanding abstractly the concrete, the subjective thinker (or the existentialist), on the contrary, engages in understanding concretely the abstract. Both of Sartre's and Beckett's theaters endeavor to help us to understand the abstract by the concrete. That is the reason why I take the existentialism as the point of view for analyzing and comparing these two playwrights. In other words, this study aims to reveal two kinds of existentialism in the modern French drama, and the relationship between the existentialism as philosophy and the existentialist theatre. In fact, as conclusion, I suggest further the superiority of the latler over the former. In the sense of the theatre becoming the best messenger of existentialism. And the existentialist theatre, as visual representation, perhaps, is more faithful than any other way's representation to the core conception of existentialism. This study concentrate specially on Sartre's two plays, ”The Flies” ( 1943), ”Dirty Hands” (1948), and on Beckett's plays as ”Waiting for Godot” (1952)and ”Happy Days” (1963).