《櫻桃園》漫步－導演詮釋、觀眾反思、空間安棲

本篇論文試圖以觀眾邊走邊觀戲的「漫步」形式為出發點，討論如何藉由觀眾的身體移動，串連劇本文字、導演詮釋、以及空間歷史，成為過往作品與當代社會反思的動態過程。本文通過一系列概念轉向的分析，從「凝視」（gaze）、「體現」（embodiment）、再到「安棲」（emplacement），串起漫步形式在劇場美學流變中的位置。本文不僅嘗試閱讀俄國作家契訶夫（Anton Chekhov）的《櫻桃園》是如何被英國當代劇場演出《在我睡著之前》再次詮釋展現，更企圖藉由此推演出一套關於觀眾移動的劇場美學之潛力所在，如何從坐著到走動，挑戰看與被看的固定視線，以身體感受空間、了解空間、並化為空間的一部分，將劇本、創作者、觀眾與場地同時「安棲」。最後將以漫步力量的展現作為本文結論：對鏡框式舞台的屏除，挑戰了觀眾與表演長期以來被看成是固定的、非辯證的、靜止的關係；對身體感知的注重，拓展了文字的詮釋，使得觀眾有了從觀看者轉為參與者的可能；而移動的觀眾身體，彰顯了「創作者＋觀眾＋空間」的劇場特色，更造就了創作者不斷實驗新型態、重溫劇本的深意；最後，還有那些劇場和地方參與的討論，通過漫步，人們在此與自己的記憶、廢棄的建築、劇本的角色、塵土、鄰居或陌生人相逢。

關鍵字

《櫻桃園》；安棲；漫步劇場；參與式劇場；觀眾研究

並列摘要

By taking the site-responsive promenade production ＂Before I Sleep＂ (inspired by ＂The Cherry Orchard＂) as a point of departure, this article attempts to capture how a collaborative relationship between texts, artists and space is re-stimulated by the moving bodies of the audience. It surveys the path to promenade through the series of focus on gaze, embodiment and emplacement, to map out the shifts of theoretical emphasis on the moving audience. It also analyzes the aesthetic potential of promenade in such shifts and concludes by suggesting the theatrical implications of an inter-subjective relationship in promenade productions: i.e. to challenge the classic study of the gaze which is based on the relationship between seated spectators and staged actors, to explore the found spaces where moving bodies bring the idea of embodiment into practice, to reinterpret the plays along with contemporary issues, and finally to connect the discussions of local engagement with the friends and memories of the moving audience.