《奧瑞斯提亞》的考古重建與汲古新繹－論三齣臺灣當代改編

希臘悲劇的當代改編在臺灣雖非「經典新詮」的熱門劇種，然而於1994年年底至1996年年初此時間點，臺灣劇場卻罕見地接連出現四齣《奧瑞斯提亞》（The Oresteia）的改編製作，包括鴻鴻《三次復仇與一場審判─民主的誕生》（1994年10月）、陳立華《奧瑞斯提亞三部曲》（1995年5月）、理查．謝喜納（Richard Schechner）《奧瑞斯提亞三部曲》（1995年10月）與田啟元《甜蜜家庭》（1996年1月）。四齣製作從演出編制、詮釋動機至整體風格皆大相逕庭，且改編策略各有不同的走向和著力點，正可體現《奧瑞斯提亞》於當代臺灣新編的多變風貌。其中，陳立華以「考古重建」為目標，意圖再現古希臘劇場原始風華，全戲從劇本翻譯、各劇場元素之整合，乃至面具表演的風格化演技，皆一致呈現古樸風貌，形塑莊嚴的儀式氛圍。與之相反，鴻鴻的改編恰恰立足於現世─1994年的臺灣社會。此作透過饒富創意、滑稽逗趣的現代手法，譏諷臺灣民主勃興時政客操弄選民的社會亂象。另一齣以「瘋狂」和「戲中戲」形式解構重述《奧瑞斯提亞》的《甜蜜家庭》，為一代小劇場鬼才田啟元的臨終遺作。在田啟元匠心獨具的導演手法及其特有的醜怪美學中，此戲對社會與人生諸般面向提出大哉問，亦處處隱含對自身生命終曲之觀照。這三齣面貌殊異的臺灣現代改編，於1995年前後演出有何特殊意義？本文將個別分析三戲的搬演形式、劇本改編與舞臺調度，析論《奧瑞斯提亞》與當代臺灣的交會辯證。

關鍵字

希臘悲劇當代改編；九○年代臺灣小劇場；考古重建；諷刺漫畫；瘋狂

並列摘要

Unprecedentedly, four adaptations from The Oresteia hit the theater circles in Taiwan successively from the late 1994 to the early 1996: Hung Hung's Three Revenges and One Trial-The Birth of Democracy, Chen Li-Hua's The Oresteria, Richard Schechner's The Oresteia and Tien Qi-Yuan's Sweet Family.Four versions differ far from each other in interpreting intention, theatrical orchestration, directing method and performance style. Chen Li-Hua attempted to conjure up the original magnificence of the ancient Greek theatre. Through ”archaeological reconstruction,” Chen's work conveyed a ritual solemnity in script interpretation, theatrical arrangement and stylized acting. Unlike Chen's aloofness, Hung Hung pragmatically approached the issue on the disorder and manipulations by then politicians. Hung's work pointed out the ”caricature” of the incumbent democracy-the agitating politicians, the aroused mass, and the electoral violence. As to Sweet Family, staged before Tien's death, he employed the finesses of madness and metadrama. He not only acutely questioned the formation of social hierarchy but also sagaciously probed into reality and human nature, which acted as a reflection of Tien's own life experiences.With Chen's ”archaeological reconstruction”, Hung's ”political caricature” and Tien's ”insane family”, this thesis aims to canvass the dialectics between these three adaptations and contemporary Taiwan society in light of staging forms, text adaptations, mise en scene, and the background of Taiwan's little theatre of the 90's.