高行健戲劇創作與其生命歷程的關聯

高行健於2000年以長篇小說《靈山》獲得諾貝爾文學獎，是華人世界第一位獲此殊榮的文學家。雖然高行健是以《靈山》獲獎，但筆者發現其戲劇作品在質與量上都有可觀的成就。1987年開始，高行健的戲劇在世界各地開始如火如荼的上演，足以證明他的戲劇作品更是不容小覷。本文即以高行健的戲劇作品做評論，其戲劇觀認為戲劇是表演的藝術，重視演員與觀眾的交流，但又強調演員與觀眾都要以冷靜角度去內省與欣賞，更客觀地理解戲中人的困境，使人對自身的生存狀態有覺醒和超越。他擅長靈活運用人稱代名詞，急遽轉換敘事觀點，使讀者進入每個角色的心理思維，對其告白產生理解與包容。高行健後期劇作中的角色大多以類型為名：男人、女人、旅客、妓女、夢遊者、痞子；其筆下的年輕女子，對於性關係雖是輕率，卻是擁有性自主權的。高行健的戲劇具有普世性的生命關懷，在其作品中，道出人類對其存在價值與意義的懷疑，並強調禪狀態的精神層面，《八月雪》中的主角慧能，將禪變成一種生活感知，是一種哲學，也是一種生活方式；不是要人們打坐修行，而是要實踐生活，在此刻當下見諸本性。

關鍵字

女性形象；生命歷程；冷文學；高行健戲劇；禪思想

並列摘要

In 2000, Gao Xingjian won the Nobel Prize for Literature for his novel ＂Soul Mountain＂; this was the first work from the Chinese literary world to be awarded this prize. Although Gao is a Soul ＂Mountaun＂ award, I found the quality and quantity of his theatrical works to be a considerable achievement. Starting in 1987, Gao Xingjian's theatrical works were performed around the world, proving that his dramatic works should not be underestimated. As the paper that is his theater productions remarked, Gao Xingjian's theater concept holds that the performing arts theater, actors, and audience attention to the exchange but stressed that the actors and audience be calm and introspective and have the perspective to appreciate and more objectively understand the human plight through drama, people of their own living conditions have awakening and beyond. He specializes in the fl exible use of the personal pronoun and quick conversion of the narrative point of view to provide the reader with insight into each character's thoughts, generating understanding and tolerance of their confessions. Gao Xingjian late plays mostly the role type names: men, women, travelers, prostitutes, sleepwalkers, and riffraff; the pen of the young woman for sexual relations even though the rash, there are sexual autonomy. The Gao Xingjian drama emphasizes universal life care, and his works describe human doubts about its value and significance and emphasize the spiritual state of Zen. ＂Snow in August＂, in which the protagonist Patriarch, the Zen into a perception of life, a philosophy, a way of life; not wanting people to meditate but to practice living in the present state of nature.