展演烏托邦的想望：以梅耶荷德的《綠帽王》探究蘇聯構成主義在劇場的實踐

1917年俄國十月革命成功，使得從世紀之交即開始的各式前衛藝術風潮因積極轉向參與打造新社會的目標有了新的巨大動能。重要導演梅耶荷德（VsevolodMeyerhold, 1874-1940）在1920年代所執導的著名構成主義製作與創立的演員訓練法─生物機械法，可以說就是他思索回應革命後新劇場的解答。梅耶荷德的構成主義製作留下諸多豐富的圖像，不僅網路輕易可得，更因為圖像破除語言的障礙，成為我們親近這些前衛作品最快速的方法。然而，這些珍貴的圖像史料雖能凸顯其強烈的劇場性，成為前衛構成主義在劇場的體現之作，可是觀者如何從靜態的圖像來理解一個強調動能的構成設計理念與導演手法？另一方面，圖像流露的前衛性無法訴說，甚至容易遮蔽了另一個更重要的展演─一個充滿希望卻又困窘的烏托邦的想望。因之，本論文首先將1920年代盛行於蘇聯的構成主義風潮置於革命後的政治社會脈絡來理解，爬梳從1914年來它的發展形變，審視其如何從平面繪畫、立體浮雕轉化，最後卻矛盾地，不得不在其認為要去除的劇場中得到實踐。接著，以上述討論的構成主義內涵與精神，來解讀《綠帽王》的構成設計圖像作為劇場史料與導演的表演文本必須注意的要點。

關鍵字

梅耶荷德；《綠帽王》；構成主義；生物機械法；俄國前衛劇場

並列摘要

After the October Revolution, Russian avant-garde artists, who had been vibrant since the turn of the century, embraced the revolution and asked how they could participate in building the new society. In the 1920s, director Vsevolod Meyerhold responded with Constructivist productions and an actor-training system called Biomechanics. With many photos about the productions easily available on line, it seems that we can gain a sense of what Constructivist productions are like. However, how can one, through the static photos, comprehend the dynamics and rhythm that are greatly emphasized by the Constructivists and Meyerhold? More importantly, the theatricality demonstrated by the photos fails to show, and even hides, another important aspect - the Constructivists' building and longing for a new society. To answer the first question, this article traces the development of Constructivism starting in 1914 and its transformation through the changes in the post-Revolutionary social and political context. Based on the principles of Constructivism, this article then analyzes the construction, designed by Lyubov Popova, in Meyerhold's The Magnanimous Cuckold, the first Constructivist production in Russia. The analysis focuses on the dynamics demonstrated through the construction itself and through actors' working harmoniously with it, and then draws attention to the ideological performance.