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  • 學位論文

紀蔚然劇作的敘事策略──以《家庭三部曲》和《夜夜夜麻三部曲》為範圍

Narrative Strategy in the plays of Chi Wei-jan:Using his Family Triology and The Machong Game Trilogy as examples

指導教授 : 洪淑苓

摘要


臺灣劇作家紀蔚然的劇本:《家庭三部曲》、《夜夜夜麻三部曲》無論在篇幅上、主題關懷的深度和廣度上,以及形式設計上,都是臺灣劇場史和文學史的重要里程碑。《家庭三部曲》呈現了臺灣九○年代以後依照時空發展順序的三個家庭切片,是對解嚴以後臺灣社會的隱喻,除此之外,劇作家在《家庭三部曲》的敘事策略上,採取了和西方現代戲劇敘事演進一致的呼應手法:第一部曲《黑夜白賊》表現了從通俗劇脫胎進入易卜生為代表的寫實主義的階段,第二部曲《也無風也無雨》再進一步從寫實主義、自然主義演變為表現主義、象徵主義的階段,到第三部曲《好久不見》則進入後現代主義的階段,這樣的設計,讓三個劇本有更加嚴謹的內在邏輯,也象徵著臺灣現代劇場脫離通俗劇的邏輯,一步一步邁入現代主義戲劇的美學範圍。   《夜夜夜麻三部曲》是紀蔚然最著名以「語言」為中心的系列著作,以十年為分期,分別呈現了「四年級生」、「五年級生」、「六年級生」,三個世代臺灣人的生命面貌和生命課題,並從世代之間的對話和偏見之中獲得進一步省思的空間。紀蔚然藉著《家庭三部曲》、《夜夜夜麻三部曲》分別從家�國的隱喻和世代間的代溝,點出解嚴之後臺灣人記憶修復以及主體重建的困難,這當中的原因不只在現實的掌握上,也在於意識到文字語言的內在規則和意識型態,而發現文字語言並不如過去想像的中立和純粹。經過種種限制和焦慮,劇作家所透露的「偏見」和「洞見」,為臺灣現代劇場築起重要的里程碑。

並列摘要


Family Trilogy and The Machong Game Trilogy are scripts created by the Taiwanese playwright, Chi Wei-jan. In terms of not only their length and their depth and width of subject, but also their structure, they are both extraordinary milestones in the history of Taiwanese theater and literature. Family Trilogy stages three family scenarios in the wake of the 1990s in Taiwan in different frames of time and space. It can be seen as a metaphor for Taiwanese society just as it came through the period of martial law. Additionally, the playwright adopts a narrative strategy which mimics the development of Western theater in the modern age. The first play, is a representation of a departure from melodrama and the onset of Ibsenesque realism. The second play, makes a further transition, from realism and naturalism into expressionism and symbolism. The third play, then goes on to represent the post-modern phase. Such a design gives a deeper underlying logic to the sequence of the three plays. As well as symbolizes Taiwanese modern theater's departure from melodrama and its first steps into realism. The Machong Game Trilogy is Chi Wei-jan’s most renowned series centering around “language“. It represents the lives and issues of Taiwanese people across three different generations, those born respectively in the 50s, 60s and the 70s as well as providing a space for cross-generational dialogue and the expression of cross-generational prejudices. Through the metaphor of home as country as well as the generational gap featured in these two series of plays, Chi Wei-jan points out the difficulties in healing the memories of Taiwanese people and rebuilding their subjectivity after the abolishment of Martial Law. The reasons behind this lie not only in our conception of reality but also in realizing the unwritten rules and ideological force of words. He concludes that words are no longer as neutral and pure as they might have been before. In suffering through the various restrictions and anxieties, it is through the expression of "prejudice" and "insight" that the playwright is able to construct these major milestones for modernTaiwanese theater.

參考文獻


紀蔚然,〈善惡對立與晦暗地帶:臺灣反共戲劇文本研究〉,《戲劇研究》第7期(臺北 : 中央硏究院中國文哲硏究所,2011年1月),頁151-172。
紀蔚然,〈重探一九五○年代反共戲劇:後世評價與時人之論述〉,《戲劇研究》第3期(臺北:中央硏究院中國文哲硏究所,2009年1月),頁193-216。
葉根泉,〈家�國神話的崩離──紀蔚然家庭三部曲中的後殖民與後現代〉,《臺灣文學研究學報》第八期(臺南市:國家臺灣文學館籌備處,2009年4月) ,頁307-329。
鍾明德,《臺灣小劇場運動史──尋找另類美學與政治》(臺北:揚智文化事業股份有限公司,1999年8月)。
郭亮廷,〈專訪編劇紀蔚然,談改編《豔后和她的小丑們》──作者已死,那我呢?〉《PAR表演藝術》第231期,2012年3月,頁50-53。

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