王嘉明作品中的偶戲手法運用

Abstract

王嘉明的劇場作品繁多，若仔細檢視，可發現其中有其特殊的系列發展脈 絡，例如反對世界中心式的真理論條、反對官方答案、質疑語言真實性⋯ ⋯ 等皆 為王嘉明作品中一貫的脈絡中心。王嘉明舞台上的一切 在:語言文 、燈光、 道具、聲響、服裝，以及演員肉身都像是其遊戲元素，他經常選用「偶戲」作為 形式框架。「傀儡」更是以各種形式(語言的、表演的)化身出現在王嘉明的作 品之中，自2002年的《請聽我說》開始，乃至筆者行文當下的2017年，貫穿了王 嘉明的創作歷史。 本論文旨在探討偶戲手法在王嘉明劇場的運用。第二章節著重討論「偶戲 形式作為導演手法的流變」，以克雷格(Edward Gordon Craig; 1872-1966)及康 托(Tadeusz Kantor; 1915-1990)作為主要探討對象，討論「偶戲形式」是如何 被導演運用、以何種方式運用，以及欲達成的效果為何。在第二章中也援引了雷 曼「後戲劇劇場」理論綜觀王嘉明的作品。第三章則將「偶戲形式」分類為「面 具」、「身聲分離」、「偶化肉體」、「布袋戲跨界」與「物件劇場」來探討偶戲形式 在王嘉明作品中的可能性與效用，並以《泰特斯——夾子/布袋版》、《小小》、《聊 齋——聊什麽哉?》，以及《請聽我說》舉例說明。第四章則以王嘉明《理查三 世》的兩個改編版本作為分析對象:分別是2014年國立臺北藝術大學戲劇系學期 製作《理查三世與他的停車場》，以及2015年台灣國際劇場藝術節邀演的《理查 三世》。第五章為結論，筆者將歸納偶戲形式在王嘉明作品中的意義，以及偶戲 形式與王嘉明思考脈絡之關聯性，並以歷史的反覆回歸，再度總結王嘉明的作品 特質。

Certain connections can be traced within Taiwanese director Wang Chia-Ming’s multiple theatrical works. For example, the rejection of universal truth, the objection to model answer, and the question of reality in language are all recurring themes in Wang’s theatre. All the beings on Wang’s stage, such as words, languages, props, costumes, lighting, sound and actors’ bodies, are elements to play with. And amongst all of them, “puppetry” is a framework Wang frequently adopts. From 2002’s Listen to me, Please~ till the 2017 now, “marionettes” has been running through Wang’s theatrical productions in various shapes—verbal or acting. This study aims to discuss the use of puppets in Wang’s theatre. Chapter two entitled “The Development of Puppetry as a Directorial Device” focuses primarily on illustrating Edward Gordon Craig and Tadeusz Kantor’s ideas, in order to discuss how puppet elements are applied to modern theatre by the directors and what effects they may produce amongst spectators. In addition to that, chapter two adopts Hans-Thies Lehmann’ model of postdramatic theatre as well in order to put Wang’s theatre in perspective. Chapter three demarcates the use of puppetry into five sections: “Masks,” “Separation between Body and Voice,” “Body of the ‘Puppet-Actor’,” “Crossover Collaborations with Taiwanese Glove Puppetry (Budaixi),” “Object Theatre” in advance. Then I observe what artist vision Wang has created with the employment of puppets in his theatrical productions like Titus Andronicus, Little (or Xiao-Xiao) in Dōgu, Inside Out: A Tale of Allure and Enchantment and Listen to me, Please~. Chapter four analyzes Wang’s two adaptations of Shakespeare’s Richard III: namely, 2014’s TNUA student production Richard III and His Underground Parking lot and 2015’s R3 —The Life and Death of Richard III at TIFA. In the final chapter I conclude how puppetry relates to Wang’s aesthetic view and what it means to Wang’s theatre. This thesis ends up summarizing the signature of Wang’s theatre with the idea of historic recurrence.