陽光劇團《浮生若夢》中的寫實與戲劇性： 一齣假裝自己不是戲劇的戲劇; Traitement du r?el dans Les ?ph?m?res : Un th??tre qui fait semblant que ce n’est pas du th??tre

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題名:	陽光劇團《浮生若夢》中的寫實與戲劇性：一齣假裝自己不是戲劇的戲劇;Traitement du r?el dans Les ?ph?m?res : Un th??tre qui fait semblant que ce n’est pas du th??tre
作者:	鄭安傑;Cheng,An-Chieh
貢獻者:	法國語文學系
關鍵詞:	陽光劇團;浮生若夢;真實;寫實;戲劇性;Th??tre du Soleil;Les Eph?m?res;r?el;r?alisme;th??tralit?
日期:	2013-06-28
上傳時間:	2013-07-10 11:59:44 (UTC+8)
出版者:	國立中央大學
摘要:	《浮生若夢》是法國陽光劇團的戲劇作品，於2006年底在巴黎的彈藥庫劇場首演。在總長六個半小時的演出中，呈現出二十九個貼近法國日常生活的故事。陽光劇團的總監暨導演：亞莉安．莫努虛金，自創團以來經常透過獨特的表演型式，將當代的社會議題放在舞台上演出。因此她視寫實主義、自然主義戲劇為敵，並追求極富戲劇性的劇場美學。然而，在《浮生若夢》中，我們卻發現其有著極為貼近真實的表演手法，莫努虛金也強調演出的精確度以及真實感受。這和她過去主張的戲劇風格大相逕庭，但她依舊否定寫實主義的戲劇美學。因此我們想要探討《浮生若夢》中介於寫實與疏離感之間的張力。在第一章「寫實風格與其理論」中，我們要先了解戲劇史（從上古到二十世紀）中的寫實風格，之後發掘莫努虛金對當下、真實性以及寫實主義的論述，並分析陽光劇團的戲劇風格與布雷希特的史詩劇場以及其疏離效果的相似性。第二章「《浮生若夢》的創作過程與結構」檢視這個表演如何透過集體創作將導演與演員的回憶轉化成演出。並且要分析這部作品極為複雜的組織架構：由二十九個被稱作「片刻」(instant)的片段故事組合成一個個「小世界」(monde)，彼此之間有哪些關連性，更要探討這些支離破碎的片段與真實之間的關係。在第三章「劇中貼近真實的面向」中，我們先關注演出與觀眾之間的親密感，並分析其各個面向（時空背景、集體記憶、角色、佈景、音效、燈光等等）如何忠實呈現出日常生活的樣貌。之後分析演員怎麼樣透過妝髮、服裝、文獻考察、演技等來強調演出的真實感。第四章「加強疏離感的演出方式」則分析劇場空間中的雙面舞台、布幕、會移動的小舞台、小舞台的「推手」，以及演出中特殊的表演形式，像是劇中劇、一人分飾多角、時空交錯等等，探討這些元素是如何加重觀眾與演出之間的距離感。 “Les ?ph?m?res” is a dramatic work of Th??tre du Soleil, premiered in Paris at the end of 2006. During this nearly seven-hour-long performance, we can see twenty-nine fragments of everyday life in France. Ariane Mnouchkine, the director of the company, often use a unique aesthetic to represent contemporary social issues on stage, so that she sees realism, naturalistic drama as enemies, and she pursues a theatrical style of performance. However, the performing style in Les ?ph?m?res is very close to the reality, Mnouchkine also emphasizes the accuracy and authentic feelings in this performance. This argument is very different from her insistence on theatrical style. But, she still denies realist drama aesthetic. Therefore, we want to research the tension between realism and distancing effect in this performance. In the first chapter “realistic style and theory”, we need to understand the realistic style in the history of theatre (from antiquity to the twentieth century), and reveal Ariane Mnouchkine’s perspective on the present, the authenticity and the realism. We also explore Th??tre du Soleil’s theatrical style which has a similarity with Brecht's epic theatre as well as the distancing effect. In the second chapter “The genesis and the structure of Les ?ph?m?res”, we elucidate how this work was created collectively by the actors, with their memories and their own life experience then to analyze the complex structure of this creation. Les ?ph?m?res is composed by twenty-nine mini-scenes (“instant”) which form several sections (“monde”). Not only the connection between these mini-scenes, but also the relation between these fragmented pieces and the real life are interesting to explore. In the third chapter “Realistic aesthetic in the performance”, we first show concern to the intimacy between the audience and the performance by unveiling various dimensions (background of space-time, collective memories, type of roles, scenery, sound, lighting, etc.) and research how these elements reinvent the real of everyday life in the theatre. Furthermore, the actors create their roles through makeup, clothing, interview, acting, in order to emphasize reality effect. In the fourth chapter “Strategies in the distancing effect”, we observe on the unique performance space constructed by a traverse stage, a pair of curtains, numerous moving platforms on stage and the “pushers” of these little platforms. We also point out some theatrical styles such as play within the play, multiple roles by one actor, interlaced times and spaces to discuss how these elements extend the distance among the audience and the performance.
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