布萊希特辯證劇場的政治效用

Abstract

布萊希特的辯證劇場（或史詩劇場）實踐自20世紀中葉以來一直為政治劇場的典範。然而辯證劇場所引發之觀看效應與布萊希特的預期相違，亦是相關戲劇研究中反覆提及的現象。布萊希特辯證劇場以馬克思社會學為本，立意挑戰觀眾（特別是無產階級觀眾）對社會現實的認知並激發其社會行動——於戲劇理論中布萊希特提倡一新觀看模式「疏離效果」，鼓動觀眾在投入情感欣賞表演時，亦對角色行動和事件走向抱持批判的態度；於實務操作上布萊希特著重矛盾的凸顯，他劇場的場面調度通常由異質元素的扞格並置所構成。然而，這些蓄意設下的矛盾卻經常引起反向的解讀詮釋，引發懷疑與爭論。 本論文旨在探討布萊希特辯證劇場的政治效用。本論文認為，相較於啟迪觀眾對社會現實的認知並轉換他們對社會議題的態度，辯證劇場所營造之矛盾結構發揮的更可能是凝聚、加深左翼觀眾既有共識的作用。換言之，辯證劇場所豎立之矛盾，於觀演關係的溝通運作可能難以逾越其政治意識形態同溫層。 本研究的第一部分首先以戲劇理論、戲劇構作、藝術方法、劇場實務四層面，檢視布萊希特如何將馬克思辯證唯物主義融會至他的劇場美學——對布萊希特劇場實務的探討是以1954年柏林人劇團製作的《高加索灰闌記》為例。其後本研究借道哲學思想與文藝理論，反思辯證劇場的政治效用。研究的第二部分援引洪席耶關於美學與政治的哲學思考，作為反思之參照基礎；本論文於研究第三部分將辯證劇場以呈現矛盾為主調的藝術方法推斷為一種反諷的佈署，並引入哈琴的反諷理論，嘗試探討布萊希特辯證劇場於觀看層面所衍生之政治效應。

As a critique of capitalism, struggle against Fascism, and rejection of the forms and ideology of conventional bourgeois theatre, Bertolt Brecht’s dialectical theatre (epic theatre), grounded in Marxist sociology, intended to challenge audience members’ perceptions of material reality (especially those of the proletariat) and thus stimulate them to social action. In theoretical writings, Brecht firmly advanced a new mode of spectating termed Verfremdungseffekt (alienation effect or distancing effect), which derives enjoyment from adopting critical attitudes in lieu of passive reception towards the events unfolding onstage. For the purpose of achieving Verfremdungseffekt in dramatic and theatrical practice, Brecht sought and highlighted contradictions where his theatrical mise-en-scène was often comprised of the interplay between contrasting elements. Although Brecht’s praxis of dialectical theatre has remained an archetype for political performance since the mid-20th century, in theatre studies it is well known that audience response to Brecht’s dialectical theatre did not work in the way he had envisioned. The contradictions he deliberately constructed in theatrical staging often gave rise to conflicting interpretations, stirring up controversy and doubt. Hence, this study is an attempt to determine the political effectiveness of Brecht’s dialectical theatre. My research starts with a review of Brecht’s theatrical praxis in four facets—dramatic theory, dramaturgical approach, artistic method, and theatrical practice (the 1954 Berliner Ensemble stage production of The Caucasian Chalk Circle is highlighted as a case analysis), in which I trace how Brecht forcefully and inventively brought Marxist dialectical materialism into the formation of his aesthetic vision. My research then proceeds to draw upon Jacques Rancière’s philosophical thought on politics and aesthetics in the hope of supporting and strengthening my argument presented in the last part of this study, that the contradictions Brecht consciously set up in his dialectical staging could be regarded as the deployment of irony. Through the incorporation of Linda Hutcheon’s ideas on irony into the discussion, I argue that a theoretical hypothesis might be made that the dialectical intention of Brecht’s theatrical devices seems more likely to be comprehended by audience members who have previously converted to Marxism. While acknowledging the fact that audience reactions are too complex and diverse to be classified and simplified via one theoretical approach, this study attempts to illustrate why the social and political influence of Brecht’s dialectical theatre did not play in accordance with his Verfremdungseffekt.