《玩偶之家》的導演實驗：以殘酷與辯證劇場面向的分析

The Directorial Challenge of A Doll's House: Analysis by Using Artaud's and Brecht's Theatrical Methods

李其昌

《挪威劇作家易卜生國際學術研討會論文集》 2009年 (2009/12) Pp. 191-207

https://doi.org/10.29483/Ibsen.200912.0191

摘要

易卜生的《玩偶之家》於1879年首演，娜拉於劇末的「關門聲」（離家出走），不僅打破了佳構劇的圓滿結局模式，也因為結局的「未決定」凸顯出娜拉為人妻的職責未盡，引發了當時社會對女權的激烈討論。在2002年，德國柏林列寧廣場劇院(Schaubühne am Lehniner Platz)的改編劇作，娜拉於劇末的「槍擊聲」（殺死丈夫），與十九世紀的原劇相符，震撼了現代觀眾的心理並議論這場家庭悲劇的後果性。
本文主要探究易卜生於《玩偶之家》中所埋設的「意象」動作，並試圖以亞陶「殘酷劇場」〈棄用名劇〉('No More Masterpieces')的劇場理念，詮釋《玩偶之家》；再者，此劇所激起的社會批判效應，亦可透過布雷希特辯證劇場的導演理論加以闡釋。
此外，冀以亞陶與布雷希特兩家的劇場理論為基礎，來表現《玩偶之家》中「人於社會」的矛盾性和「人與社會」的差異性，並從中探得亞陶所謂的「神奇的模仿動作」或布雷希特的「社會姿態」，因而喚回劇場藝術的兩大元素―演員與觀眾―避免讓兩者成為「玩偶」（被操縱的角色），而是著重雙方藉由「意象」於劇場產生交流，據此開創一個屬於當下時空的批判議題，不斷在劇場發酵，促進個人革心與社會革新。

關鍵字

易卜生 ； 玩偶之家 ； 亞陶 ； 布雷希特 ； 殘酷劇場 ； 辯證劇場

並列摘要

At the premiere ofHenrik Ibsen's A DoLl's House in 1879, the sound of the slammed door-by Nora, as she leaves her family-breaks the expectation of final stability in ”well-made plays” by ending on a note of chaos. It was partly because of this final ”undecidability,” wherein Nora appears not to remain as dutiful wife, that the play also aroused intense discussion of the woman's rights in society at that time.
In 2002, the production in Schaubühne am Lehniner Platz, presented an ending wherein Nora shoots her husband. This adaption was also, like the original production, intended to agitate the audience and ”play” with their expectation.
I am directing this play and, once again, the question of how to present Nora's reactions to her friends and family arises. Here I suggest that the question of how to unsettle spectators to the extent that they, true to Ibsen's initial radicalism, are forced to participate in the final closure can be usefully answered by turning to the theatre methods of Antonin Artaud and Bertolt Brecht.
In order to investigate the theatrical ”signs” of actors' reactions and ensure the alienating effect of A Doll's House, I turn specifically to Artaud's acting idea in 'No More Masterpieces,' in his manifesto Cruelty,” and also, to explore the wider notion of social criticism, to Brecht's theory of dialectical theatre. Furthermore, I will read A Doll's House through Artaud's ”magical mimesis of a gesture” and Brecht's ”social gest” with the aim of indentifying, more precisely, the contradictions and divergences between human beings and contemporary society.

並列關鍵字

Ibsen ； A Doll's House ； Artaud ； Brecht ； the Theater of Cruelty ； dialectical Theatre