姚一葦戲劇創作文本符號的可轉換性 ---以〈孫飛虎搶親〉、〈申生〉及〈傅青主〉為例

The Transformability of Signs in the Dramatic Texts of Yao, Yi-wei: Reading “Sun, Fei Hu, the Snatcher of Wedding”, “Shen, Sheng”, and “Fu, Ching-Chu”

邱少頤(Shao-Yi Chiu)

指導教授 ： 林國源

國立臺北藝術大學/戲劇學院學術論文/戲劇學系博士班/博士(2012年)

摘要

本論文的重點在於以符號學方法來分析，如何在戲劇創作形式中，運用表意符號系統的轉換可能，多義的具體化其內在的創作動力，將創作視為「個人生命理想的藝術呈現」（這是一種透過自省與自我界定的自我表現，也是對其所追求之內在崇高想像的溝通意圖，且將其賦予戲劇藝術的形式呈現到公共領域上），並透過「人/境對立」的戲劇結構，讓崇高想像得以被有效的表現；另一方面，其創作實踐也同時由內而外的指涉出，那建構其內在創作衝動與創作意念的「語境結構」與「社會意識」的現實脈絡影響，並在其中分析出其自我「界定」的知識分子形象與藝術態度。

在這樣的方法下，本論文挖掘出姚一葦的戲劇美學架構與創作實踐的交互關係，以及劇作家的符號使用在不同語境之下的增生模式，描繪出其生命�美學價值取向、意識�社會內容，與個人�時代解釋系統的交織狀態。

筆者的論述脈絡擬以以下四個層次來切入：由戲劇文本（《孫飛虎搶親》、《申生》，以及《傅青主》等三個作品）的表意符號系統之建構出發，逐步透過符號的不同意義轉換，一層一層地看到劇作家所呈現的面貌與思維、象徵運用及意志展現，後進一步從其語境結構的多元交織中，看到他所處的經驗世界，以及他在其中所抱持的態度與自我界定，這四個層次條列如下：

1. 劇作家內在理想的符號化之可能。
2. 戲劇動作與象徵符號之解讀邏輯。
3. 意志衝突中權力結構的複合性。
4. 戲劇形式之語境結構所呈現的多元論述。

換言之，乃是對於其戲劇文本的多層次解讀，並藉此看到劇作家於其中投射出的自我意識，分別在美學上、在思想上、在語境結構上等等的多樣表現，更重要的是，在其身處的「政治/美學意識型態」籠罩下，發現劇作家在其中如何透過思想與自覺，界定並爭取其主體性的詮釋權，並提出藝術理想的崇高想像。

關鍵字

姚一葦 ； 符號可轉換性 ； 崇高想像 ； 權力結構 ； 國族寓言

並列摘要

Summary

The dissertation focused on the analysis on, with semiotic methods, how Yao Yi-wei employed the transformability of ideographic system to materialize his inner impetus for creation in a polysemous way, how he viewed his creation as “an artistic presentation of personal ideals of life”, and how his imagination towards Sublimity could be effectively expressed through the dramatic structure of “Antithesis of Human/Situation”.
Furthermore, his creation practice also made reference to, from within, the impacts of the context of “contextual structure” and “social consciousness” that constructed his inner impetus and ideas for creation, from which the image of intelligentsia and artistic attitudes of his “self-definition” were analyzed.
With such a method, the dissertation excavated the interrelationship among Yao’s structure of dramatic aesthetics, his practice of creation, and the mode of proliferation of the dramatist’s signs in different contexts, and it described the intertextuality of his approach to the values of life/aesthetics, contents of consciousness/society, and personal/historical interpretive system.
The discourses were made from the following four levels: it started from the construction of ideographic system of dramatic texts (“Sun Fei Hu, the Snatcher of Wedding”, “Shen-Sheng”, and “Fu Ching-Chu”), to find out, layer by layer, the visages and thoughts, and employments of symbols and presentation of intentions. Then it further found out, through the intertexuality of his contextual structures, the experiential world and the attitudes and self-definitions he held. These four levels are listed as follows:

1. The possibility of signifying the dramatist’s inner ideals.
2. The logic for deciphering the dramatic actions and symbols.
3. The combination of power structures in the conflicts of wills.
4. The diverse discourses presented in contextual structures of dramatic forms.

It is namely a multi-level deciphering of his dramatic texts, and with which, found out the self-consciousness projected in them by the dramatist and the diverse presentations in aesthetics, thinking, and contextual structures, etc. Furthermore, it found out how the dramatist, under the “political/aesthetic ideology” that he dwelt, defined and fought for the right for interpretation of his subjectivity through thinking and self-awareness, and proposed his imagination towards Sublimity in his artistic ideals.

Key words:
Yao Yi-wei; transformability of signs; imagination towards sublimity; power structure; national allegory.

並列關鍵字

Yao Yi-wei ； transformability of signs ； imagination towards sublimity ； power structure ； national allegory.

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