活動拉辛的記憶－論安端•維德志導演之四齣拉辛悲劇

To Activate the Memory of Racine: On Four Representations of Racine's Tragedies by Antoine Vitez Synopsis

楊莉莉(Li-Li Yang)

《藝術評論》 13期 (2003/12) Pp. 211-250

摘要

法國導演安端•維德志是當代少數持續搬演拉辛劇作的導演，一生共導演四部拉辛傑作－《昂朵瑪格》(1971)、《費德爾》(1975)、《貝蕾妮絲》(1980)以及《布里塔尼古斯》(1981)。七○年代初期的《昂朵瑪格》充滿實驗精神，六名演員從讀劇出發輪流飾演八名角色，劇情分崩離析但基本結構一目了然，這是維德志解構主義時期的力作。四年後，《費德爾》從新古典詩劇的根基著手，再創亞歷山大詩行的唸法，在半唱半唸的情境下，凸顯亞歷山大詩體絕對的形式，劇情詮釋透露宮廷／戲劇／儀式的糾葛關係。到了八○年代，《貝蕾妮絲》以敷演劇情故事為依歸，表演上強調新古典悲劇演出的成規，藉以強化表演的形式，使之趨於嚴謹，唸詞開始顧及拉辛詩文自然天成的面相，迥異於前兩齣戲的造作。緊接著在《布里塔尼古斯》，維德志首度以歷史服裝明確標出劇情發生的時空，羅馬帝國的背景被突出，政爭與情變衝突激烈，高潮迭起，導演力圖爭取國家劇院廣大觀眾群的認同。在摸索搬演拉辛的過程裹，維德志從解構的觀點出發，至強調亞歷山大詩體的絕對詩律，進而追求一種形式化的演出，最後回歸劇情故事，這四齣戲無一不是針對拉辛悲劇之寫作與表演規制問題試著提出可能的解決方案。本文先行探究維德志面對經典名劇的時間觀，繼之分析上述四齣悲劇的表演策略，最後討論導演面對這四齣戲的基本態度。

關鍵字

拉辛 ； 安端•維德志 ； 新古典悲劇 ； 《昂朵瑪格》 ； 《費德爾》 ； 《貝蕾妮絲》 ； 《布里塔尼古斯》

並列摘要

Antoine Vitez is one of the few contemporary French directors who consistently stages Racine's tragedies. In total, Vitez had directed four Racine's masterpieces: Andromaque (1971), Phèdre (1975), Bérénice (1980) and Britannicus (1981). Presented at the beginning of the 70s, Andromaque was an experimental work in which six actors started with reading the play, then took systematic turns to play the eight roles. As a result, the plot looked disjointed, yet its basic structure appeared clear-cut. This spectacle was Vitez' deconstructive period of work. Four years later, Phèdre reconstructed the diction of Alexandrine verse, half singing, half reciting, the absolute poetic form being emphasized. Implying the background of Versailles, the performance of Phèdre functioned on the interrelationship between court, theatre, and ritual. Bérénice, produced at the beginning of 80s, returned to the interpretation of the plot while stressing neoclassical conventions of acting in order to make the form of representation more rigorous. Vitez began to appreciate the ”natural” beauty of Racine's verses, whereas the previous productions focused on their ”artificial” aspects. Finally, in Britannicus, Vitez used for the first time historical costumes to locate the time and place of the tragedy, while the background of Roman Empire was symbolically set up. The violent political and amorous conflicts of the tragedy have been so powerfully interpreted that there was hardly any dead moment on the stage. In short, on directing Racine's plays, Vitez started with a deconstructionist's point of view, then foregrounded the absolute rhythm of Alexandrine lines, even searched for a more formalist performance, and finally returned to the plot. These four scenic creations propose four possible approaches to perform neoclassical dramas today.

並列關鍵字

Racine ； Antoine Vitez ； neoclassic tragedy ； Andromaque ； Phèdre ； Bérénice ； Britannicus

參考文獻

(1981).(Bérénice. Mise en scene d'Antoine Vitez, mise en image par C.N.R.S.).

(1981).Britannicus. Mise en scene de Gildas Bourdet, mise en image par A. Tarta.Paris:LN.A..

(1982).(Britannicus. Mise en scène d'Antoine Vitez, mise en image par le Théâtre National de Chaillot).

(1982).(Hippolyte. Mise en scène d'Antoine Vitez, rnise en image par le Théâtre National de Chaillot).

Antoine Vitez à Chaillot.Britannicus, conservé dans "le Fonds Antoine Vitez-Chaillot".(Bibliothèque de l' Arsenal).