荒謬性、反抗及權力辯證：從存在主義戲劇、荒謬劇場到直面劇場

Abstract

存在主義哲學作為許多戲劇作品呈現的核心思想，其與劇場的關係可說是相當密切。其中最為出名的或許是荒謬劇場，其將存在主義的荒謬哲學透過戲劇形式帶上舞台，對戲劇界造成極大衝擊，但這種震撼力已經隨著時間逐漸消逝，但這種源於存在主義的衝擊過程至今仍然持續在進行。 本文試圖先探討存在主義的發展歷史並試圖整理出理論模型，接著以二戰之後出現的存在主義戲劇、荒謬劇場以及90年代直面劇場這三種戲劇類型作連結，從它們的定義、歷史背景以及核心訴求來探討三者的共同點以及對於呈現存在主義思想所採用的迥異手法，並以「存在導致荒謬所以反抗」這個模型來分析三種戲劇類型作品。透過存在/權力模型來看存在主義戲劇、荒謬劇場和直面劇場是如何被存在之荒謬所影響，以及所採取的反抗行動（震撼手法）經過怎樣變化，並探討這三個看似相關卻截然不同的劇種其本質的相似程度，以及存在主義如何影響戲劇並延續下去。

Existentialism has been affected themes in drama and theatre for a long time. The Theatre of Absurd may be the most famous representative of this genre due to the absurdist philosopher Albert Camus. The emergence of absurdist theatre impacted on the drama criticism at that time, but its influence seems to be fading away. However, we can find out that existentialism keeps within the new wave of theatre because of the everlasting question of Being. Therefore, this thesis mainly focuses on finding the connection among three styles of drama: the drama of existentialism, the theatre of the absurd and in-yer-face theatre by analyzing their definition, historical background and central themes. Existence (power), absurdity and rebellion are the major subjects in the script analysis because they are three big points in the realm of existentialism, especially to Nietzsche, Sartre and Camus. By dissecting the representative play of these three different styles of drama, the ultimate goal is to find their essence in common and literary inheritance relationship.