| 摘要: | 本篇論文主要探討「身體」在八０末年代至九０年間如何被台灣小劇場藝術家當作表達意念的工具。為了找出「身體」在當時如何被小劇場藝術家所使用和如何被劇場評論者所瞭解，我首先查閱了報紙?雜誌和期刊上所有相關小劇場身體表演的文章和評論。同時，在「台灣現代戲劇暨表演影音資料庫http://www.eti-tw.com/」裡觀看超過200部小劇場作品影像紀錄。透過這些文字與影像紀錄，我發現現存相關小劇場藝術家使用身體的討論不是誤讀，就是誇大了「身體」在其作品的意義。 在此論文裡，我透過重新檢視王墨林於八０年代末與九０年代初所提出的小劇場身體表演論述?以及相關於田啟元身體作品的討論和劉守曜的獨腳戲，來釐清現存對於小劇場藝術家使用身體的錯誤詮釋和理解。在論文的第一章，我簡短敘述了現存的小劇場身體論述，同時解釋了我的研究方法與討論對象。在第二章，我說明瞭王墨林在八０年代末嘗試去理論化小劇場身體表演的政治社會意義和美學價值的貢獻，同時也指出他身體論述中，誤用日本六０年代小劇場與五０年代舞踏的經驗來評價台灣小劇場成就的盲點。在第三章，我重新檢視了「身體」在田啟元劇場作品的意義。我一方面探討戲劇評論者如何誤讀田啟元劇場作品裡的「殘酷劇場」元素，另一方面，說明田啟元使用身體去傳達意念的最大成就在於挪用演員的身體特質去挑戰傳統的審美觀念。最後，我的論文總結在見證了台灣小劇場藝術家從八０年代末至九０年代，歷經十年以「身體」創作為實驗的最佳典範-劉守曜的「雌雄同體表演」裡。 This thesis aims to understand the Taiwanese Little Theater artists’ employment of body as an expressive means in their theater works from the late 1980s to the 1990s. To find out how “body” was then used and understood in the Little Theater, I first surveyed theater previews, reviews, and all kinds of academic papers that concern about the Little Theater’s body performances in various newspapers, magazines, and periodicals. Then, I study more than 200 visual records of the Little Theater performances at Electronic Theater Intermix in Taiwan (台灣現在戲劇暨表演影音資料庫, http://www.eti-tw.com/). With these written and visual records, I discover that the Little Theater artists’ use of body was either overstated or misunderstood in the existing discussions concerned about the Little Theater’s body performances. In this thesis, I clarify these misinterpretations and misunderstandings by reexamining and reanalyzing Wang Mo-lin’s (王墨林) body discourse on the Little Theater performances in the late 1980s and early 1990s, then the commentaries on Tian Chi-yuan’s (田啟元) body-related works, and finally the solo plays of Liu Shou-yao (劉守曜). In Chapter One, I briefly introduce the existing discussions of the Little Theater’s body performances, and meanwhile, explain my research methods and the subjects of this thesis. In Chapter Two, I recognize Wang Mo-lin’s attempt to theorize the sociopolitical signification and aesthetic value of the Little Theater’s body performances in the late 1980s, as well as point out his misuse of the experiences of Japanese Little Theater performances of the 1960s and the Butoh dance of the 1950s to evaluate the overall performance of the Taiwanese Little Theater body performances. In Chapter Three, I reexamine Tian Chi-yuan’s use of body in his theater works. I, on the one hand, explore how his works were over-interpreted as have resembled Antonin Artaud’s Theater of Cruelty, and on the other, point out that his appropriation of “found bodies” to challenge the conventional beauty concept was the most significant achievement of his use of body in his theater works. In Chapter Four, I conclude my thesis with the discussion of Liu Shou-yao’s extraordinary androgynous body performance as an exemplification of the true accomplishment of one decade experimentation on body explored by Taiwanese theater artists since the late 1980s till 1990s. |
