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  • 學位論文

九一一與戲劇—— 論海爾的《Stuff Happens》與維納韋爾的《九一一》

9/11 and the Play: On David Hare's Stuff Happens and Michel Vinaver's 11 September 2001

指導教授 : 楊莉莉

摘要


二○○一年九月十一日發生了撼動世界的「九一一事件」,經由電視媒體不斷轉播紐約雙子星大樓遭飛機撞擊而倒塌的畫面,全世界共同目睹這起空前的事件。事發之後,美國政府隨即高舉「反恐」大旗,先後對阿富汗及伊拉克發動戰爭。面對此一連串事件,西方戲劇界在主流媒體報導之外,也對九一一事件及其餘波有所回應,透過演出或劇本創作處理其所引發的國際政治、創傷記憶、恐怖主義、全球化乃至媒體對事件的再現及其詮釋等議題,蔚然成風,儼然有自成一家之勢。 戲劇作為一門虛構的藝術,在處理現實事件上,如何拉開歷史距離並兼顧紀實與批判,是劇作家在創作時必須面對的課題。海爾的《Stuff Happens》與維納韋爾的《九一一》皆以九一一事件為創作素材,將之置於歷史與政治的脈絡當中,分別從英國與法國的觀察出發,展現了不同的視角,在再現與再創之間,討論九一一事件及其餘波,各自以戲劇手法提出了對九一一事件的詮釋。海爾和維納韋爾並未採用借古喻今的手法反映當前的現實,而是直接讓「此時此地」成為戲劇場景。然而,如何在劇本中讓虛構與現實相交,卻又能保有歷史距離,同時填補新聞報導所遺留的空缺?二者在劇作中又透露了那些批判? 此二劇就形式和內容而言,反映出戲劇如何再現九一一事件的美學問題,面對當前的政治、權力、倫理等議題,戲劇又扮演了何種角色?本文以這兩個劇本為研究對象,進行文本分析,並藉由九一一事件的史料、戲劇論述以及演出劇評等文獻,探討九一一事件與戲劇的關係,兼論以時事入戲的問題。

並列摘要


The 9/11 attack was a shock to the whole world. By repeatedly watching the TV clips of the two hijacked planes crashing into the Twin Towers, all of us became witness to this unprecedented event. Later, the U.S. government waged a “War on Terror,” sending troops to Afghanistan and Iraq to defend their so-called “liberty and justice.” Responding to such confrontations, the artists and playwrights have released their works on the 9/11 event and its aftermath—from international politics, traumatic memory, terrorism, globalization to the media coverage and interpretations. These theatrical responses to 9/11 have been springing up on the Western Stage, breeding a new genre in the Western Theatre. For the playwrights, the inevitable challenge of writing about a factual event is to create certain historical distance for the play to be both an authentic portrayal and critical interpretations. Of the 9/11 plays, David Hare and Michel Vinaver both wove the event itself in political and historical context. Stuff Happens by Hare provides the British viewpoint, while 11 September 2001 by Vinaver offers the French one. Between representation and recreation, they apply different dramatic finesses to examine the event and present their own interpretation. Rather than narrating the past to allude the present, both playwrights adopt the “here and now” as the theatrical theme. However, when the here and now cut across drama, how to fill up the void caused by the media coverage without lacking historical distance? Moreover, what exactly do Hare and Vinaver reveal their critical observations in Stuff Happens and 11 September 2001? These two stage plays in terms of formal and thematic concerns, share the same struggles: the questions about the aesthetics of representing 9/11, and about what kind of the position does theatre take when reacting to the current disorder in politics, power, and ethics. This study analyses the two texts, Hare’s Stuff Happens and Vinaver’s 11 September 2001, relies on the public discourse and the documents of 9/11, theatre discourse, and theatre reviews to explore the relationship between 9/11 and the play relates to it as well as to discuss about certain issues on putting 9/11 into play.

參考文獻


杭亭頓(Samuel Huntington)著,黃裕美譯,1997,《文明衝突與世界秩序的重建》。臺北﹕聯經。
廖培真,2009,〈論暴力與身份認同:「後」九一一南亞裔英國小說研究〉。臺北:臺灣大學外國語文學研究所博士論文。
-----. 2003. The Spirit of Terrorism and Other Essays. Trans. Chris Turner. New York: Verso.
杭士基(Noam Chomsky)著,丁連財譯,2001,《9-11》。臺北:大塊文化。
索因卡(Wole Soyinka)著,陳雅汝譯,2007,《恐懼的勇氣》。臺北︰商周。

被引用紀錄


廖威誌(2014)。複聲合調劇演出之挑戰: 論維納韋爾《九一一》四齣演出製作〔碩士論文,國立臺北藝術大學〕。華藝線上圖書館。https://doi.org/10.6835%2fTNUA.2014.00018
湯京哲(2016)。《911》導演創作報告〔碩士論文,國立臺北藝術大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0014-0402201602230000

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