從暴力的再現到再現的暴力：莎拉・肯恩的殘酷劇場

Abstract

暴力作為戲劇�劇場作品中時常呈現的主題，其相關論述的建構歷史源遠流長。然而莎拉・肯恩與《驚爆》的出現不僅使劇評的評斷標準無所適從，更映照出以再現為基礎的觀看美學長久以來的盲點與不足。在經過《菲德拉的愛》針對暴力的再現所做的極端實驗後，肯恩於《滌淨》中描寫暴力的方式，更接近於去再現的，感官感覺的暴力。她更透過廷克一角的運用與刻畫，指出道德評斷與暴力的共生關係。緊接著，透過《4.48精神崩潰》的創作，肯恩不僅搖撼了再現美學下的觀演關係與架構，更將暴力轉向破壞語言文本甚至作者自身，初步體現了亞陶殘酷劇場反再現的企圖，即把觀者與作品、再現與在場、自我與他者等界限消融的理想。肯恩藉由創作上的轉變，對劇場暴力乃至於再現做出深層辯證、質疑抵制，進而拋出了作者、作品與觀者共同「臨在」的可能性。

As a long lasting theme in drama and theatre, violence has been interpreted and analyzed with well-founded aesthetic system. However, due to the emergence of Sarah Kane’s Blasted, the criticism based on representation was interrupted, revealing the blind sides and shortcomings of standard theatrical aesthetic. After her extreme experiment on the representation of violence in Phaedra’s Love, Kane’s depiction of violence in Cleansed is more like the violence of sensation, which defies interpretation, moral judgment and the confinement of representation. Furthermore, through the characterization of Tinker, Kane indicates the immanence of violence and moral judgment. In 4.48 Psychosis, Kane not only shatters the spectatorship of representation but also turns violence against dramatic text and her own voice as an author. Like Artaud’s Theatre of Cruelty, Kane’s writing tries to eliminate the boundaries between subject and object, representation and presence, us and them through the ideal of experiential theatre. By raising questions about violence and the essence of representation, the ultimate goal of her works is to make author, performance, and spectators immersed simultaneously in the moment of presence.