辯證劇場與實驗劇場的辯證性

Dialectic Theatre and the Dialectic of Experimental theatre-Toward a Metaphysical Foundation for Theatre Action Theory

林國源(Kuo-Yuan Lin)

《藝術評論》 14期 (2004/04) Pp. 17-33

摘要

本文透過亞陶殘酷劇場與布烈希特敘事詩劇場的平行線討論實驗劇場的辯證性並尋求現代劇場動作論的形而上學基礎。
本文論述的第一個重點在於指出亞陶殘酷劇場的辯證性特點，及他從峇里島舞蹈中所見出的擁有自身語言與價值的純粹劇場。
本文論述的第二個重點則在於指出布烈希特，如他在晚年所指陳的，布烈希特辯證劇場的辯證性。
從這兩個當代劇場的分水嶺，我們還可以從亞陶與布氏之間的辯證性見出其間的共同趨勢，那就是其所尋求的劇場本體論都被貼上了非亞里斯多德的印記。
四十年代布拉格學派對劇場動作論的揭立貢獻卓著，我們可以從他們的文獻摘述其間具有本體價值的劇場動作論文本。
此間劇場批評也有一個共同的定向，那就是從戲劇動作論向劇場動作論傾移，就如姚一葦先生的「三問」、與馬森教授的再思考與細論。
思辨並尋求劇場的本體論基礎之際，我們看重劇場場面調度與形而上意念，台灣戲曲兩大劇場傳統北管戲及哭調歌仔戲皆含帶崇高價值且具有剔發悲壯性的能量。

關鍵字

劇場動作 ； 亞陶 ； 布烈希特 ； 姚一葦 ； 後現代三問 ； 北管戲 ； 哭調歌仔戲

並列摘要

This paper proposes to discuss the dialectic of experimental theatres along the parallel line of Artaud's theatre of cruelty and that of Brecht's epic theatre and then in search of the metaphysical foundation of the contemporary theory of theatre action.
The first subject of this paper is to point out the dialectic traits of Artaud's theatre of cruelty. The aims of his searching for a pure theatre with its own language and value as reveals in the dance of Bali island.
The second subject of this paper then is to point out the dialectic traits of Brech's theatre dialectic rather that of epic theatre as he points out in the later stage of his life.
According to the two set-out points of the modern theatre movements all have the dialectic traits that reveals in Artaud and Brecht, we can see that the ontological theory of theatre with value reversal aport a general index ”non-Aristotle”.
One current in the formalistic orientation of the new theory of theatre performance is that of semiotics of theatre in the forty years, the prague school structuralists. We resume the ontological ”theatre action” theory as texts mentioned above.
In concering the criticism of theatre, there is also an transition from drama ontology to theatre ontology as revels in controversial conference of Yao's ”Three questions”, Ma's ”Detail Reading” and Huan's ”reconsideration”.
The conclusion is that it is necessary to speculate the ontological foundation of our theatre that is emphasized on mise-en-scene and metaphysics, our theatre tradition already has its transportation of sublime value, as reveals in the tragic tradition of ”Pei-Guan” and the ”Misery play of crying-tune” in Taiwan Opera.

並列關鍵字

theatre action ； Artaud ； Brecht ； controversial conference of Yao's "Three questions on post-modernism" ； Pei-Guan ； Misery play of crying-tune

參考文獻

余英時(1984)。從價值系統看中國文化的現代意義。台北:時報。

亞陶·安東寧劉俐譯(1938)。戲劇及其複象。台北:聯經。

姚一葦(1993)。美的範疇論。台北:開明。

姚一葦。藝術的奧秘。台北:開明。

耶拉姆(1980)。劇場與戲劇記號學。London:Routledge。