流動的空間與消失的主體性：惹內戲劇中空間的後現代性

本文試圖從空間的角度出發，討論惹內劇作中空間所呈現出來的後現代性。在惹內早期的四個作品《死亡監視》、《燦爛》、《女僕》和《陽台》的空間設置上，已有後現代的流動性。在這些作品中，私密空間和公共空間的界限並不明顯，而且空間的設置看似有二元的權力關係，但這樣的權力關係其實是流動；依照李歐塔和布希亞的看法，權力只是空間安排下的演出，甚至可能只是一種娛樂，權力本身並不是真的存在。在這四個作品中，陽台都是一個如同烏托邦的地方。但烏托邦的英雄性在此其實是幻覺，英雄根本不存在。英雄式的悲劇性死亡也只是「擬象」，是遊戲的一部分。空間的內與外在惹內的劇作中形成如同巴舍拉所說的辨證關係，內外其實無異。惹內最後的兩個作品《黑人》和《屏風》，更把這樣的虛幻性擴大到劇場之中，甚至到了劇場之外。空間本身如同種族、膚色，都只是演出，真正的身份是不能確定的，主體性也隱藏在「擬象」之後，無從辨識。《屏風》更打破劇場內外空間的界線，使真實和虛幻在《屏風》裡更加難以辨別。

關鍵字

惹內；空間；後現代；權力；流動性；主體性

並列摘要

This thesis aims to discuss the postmodernity in the spatial structures of Jean Genet’s theatrical works. The postmodern fluidity of space finds its expression even in Genet’s early plays: Deathwatch, Splendid’s, The Maid, and The Balcony. In these works, there is no clear-cut boundary between private space and public space. The spatial structures in these plays seem to present a duality of power relation; yet in fact the power relation in Genet’s plays is quite fluid. Moreover, in the light of Lyotard’s and Baudrillard’s postmodern perspectives, the power relation in these plays can be well taken as a kind of Mise-en-Scène or entertainment. Power even does not really exist. For many of the dramatic characters, balcony appears like a Utopia for heroic performance. However, their heroic Utopia is nothing but an illusion. Hero never exists, either. Heroic death is a Simulacrum: it is only part of a game. In these plays, there seems a dialectic between internal space and external space as Bachelard comments -- internal space and external space may well reverse into each other. In Genet’s later plays, The Black and The Screens, such an illusion expands into the whole space of the theater, even outside the theater. Genet’s spatial structures, like the race and the color, are a kind of performance. In performance, no one is able to validate his/her authentic identity. One’s subjectivity is hidden behind Simulacrum. The Screen even removes the boundary between internal space and external space of the theater. It is hard to tell the realty from the illusion in The Screen.

並列關鍵字

Genet ； space ； postmodern ； power ； fluidity ； subjectivity

參考文獻

林志明。<注意的觀看：波特萊爾的《現代生活的畫家》>。《中外文學》。第30卷，第11期。頁60-67，2002。

貝斯特，史帝文、道格拉斯．凱爾納（Best, Steve and Douglas Kellner）。《後現代理論：批判的質疑》。朱元鴻等譯。台北：巨流，1994。

Durham, Scott. “The Death of Jean Genet.” Yale French Studies 91 (1997)：159-184.

Foucault, Michel. “Of Other Spaces.” Diacritics Vol. 16, no. 1(1986): 22-7.

Grove Weidenfeld, 1982.

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流動的空間與消失的主體性：惹內戲劇中空間的後現代性

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