以情動理論重構亞陶的殘酷劇場──以《頌熙》為例

Abstract

本文以情動理論（Affect theory）重新思考亞陶（Antonin Artaud）的殘酷劇場，試圖突破過往將「殘酷」理解為暴力、美學挑釁或反理性姿態的研究傾向。 本文首先回顧亞陶的生命經驗、思想與《劇場及其複像》等重要文本，梳理殘酷劇場的形成脈絡，並分析其與儀式、瘟疫、形上學之間的關聯。接著進一步引入情動理論作為研究方法，援引馬蘇米（Brian Massumi）、湯姆金斯（Silvan Tomkins）等人的觀點，爬梳情動、強度、感知與身體之間的關係，並試圖藉此建立理解殘酷劇場的新視角。在文本分析部分，本文以亞陶的作品《頌熙》（Les Cenci）為主要案例，探討此劇如何透過非心理寫實的角色配置、斷裂性的語言節奏、壓迫性的空間構成與儀式化的表演形式，生成直接作用於觀眾身體的感受。 總上，本文認為殘酷劇場是強度的劇場。透過情動理論的介入，本文試圖指出，殘酷（la cruauté）是一種作用於身體、感知與存在狀態的強度機制；殘酷劇場（Le théâtre de la cruauté）則旨在脫離再現的範疇，通過舞台調度（Mise-en-scène）：聲響、節奏、空間、光線與身體等元素，直接介入參與者的感知、改變觀看、感受與存在的方式，使他們進入尚未被語言完全收束、命名的情動狀態。這也使劇場成為與集體意識共振、重塑感知與生命閱歷的場所，從而使受眾得以重新面對世界、再度感受自身存在的經驗。

This thesis re-examines Antonin Artaud’s Theatre of Cruelty through Affect Theory, seeking to move beyond past research tendencies that understand “cruelty” primarily as violence, aesthetic provocation, or anti-rationalism. This thesis argues that cruelty (la cruauté) should be understood as a mechanism of intensity acting upon the body, perception, and states of existence. Moreover, the function of Theatre of Cruelty is to directly intervene in the spectators sensory experience and draw them into unstable affective states that exceed linguistic containment. Which operates through mise-en-scène—sound, rhythm, space, lighting, gesture, and the body. The thesis first review Artaud’s life experiences, theatrical thoughts, and major writings, especially The Theatre and Its Double, tracing the development of the Theatre of Cruelty and its relation to ritual, plague, metaphysics, and the crisis of modernity. It then further introduces affective theory as a research method, citing the views of Brian Massumi, Silvan Tomkins, and others, to organize the relationships among affect, intensity, perception, and the body. Through this theoretical perspective, the thesis attempt to establish a new perspective for understanding the Theatre of Cruelty. The textual analysis centers on The Cenci (Les Cenci), exploring how Artaud constructs affective experiences through non-psychological characterization, fractured linguistic rhythms, oppressive spatial arrangements, and ritualistic theatrical forms. By approaching Artaud through Affect Theory, this thesis suggests that the Theatre of Cruelty does not merely seek shock or destruction. Instead, it opens another possibility for perceiving life within theatre; cruelty is therefore an experience that forces the body to confront the world again and to feel its own existence anew.