莫努虛金導演作品中的東亞印記

Abstract

法國陽光劇團導演亞莉安．莫努虛金自1960年代創作初期開始，即對東方劇場表演形式充滿興趣。受到十八至二十世紀法國劇壇崇尚東方風潮的影響，莫努虛金繼承了在劇本、舞台、表導演手法各方面挪用東方元素的傳統，並建構自身對於東方劇場的概念。透過與陽光劇團成員們的集體即興創作，利用東方劇場作為反抗寫實表演的工具，實踐劇場新形式的理想，傳達普世性意義。 筆者以與我們文化最有相關性的東亞文化圈作為研究對象，在莫努虛金超過五十年的創作生涯中，選出六齣具有東亞元素的作品：《成吉思汗》、《黃金年代》、《理查二世》、《亨利四世(上)》、《突然，無法入睡的夜晚》、《河堤上的鼓手》，用實際作品驗證莫努虛金如何以東亞傳統戲劇作為創作靈感，以及如何在導演手法上轉化東亞表演技巧與舞台調度。 透過比較陽光劇團作品與東亞傳統戲劇在戲劇表現手法上的同與異，本研究試圖檢討莫努虛金取用東亞元素時面臨到的去脈絡化問題；於此同時，也肯定莫努虛金在重新融合、轉化東方戲劇後所帶來的全新藝術形式。莫努虛金雜揉東西方元素的導演作品，於世界各地演出後所帶來的正、反面迴響，正是促成東西方文化相互交流、對話的可能與對各自文化反思的契機。

Ariane Mnouchkine, the director of Theatre du Soleil, has been interested in Oriental theatre performances since the early stage of her directing career from 1960s. Under the influences with “Oriental fever” in French theatrical circles in 18th to 20th century, Mnouchkine followed the tradition to appropriate oriental elements in playwriting, stage design, acting and directing; moreover, she established her own concept of Oriental Theatre. By collective improvisation with members of Theatre du Soleil, Mnouchline used the form of Oriental Theatre against realistic performances. By doing so, she fulfilled the ideal of creating a new form for western theatre, and conveyed universalism. Focusing on East Asian culture, which is most relevant to ours, this thesis studies six works of Mnouchkine with East Asian elements: Gengis Khan, L'Age d'or, Richard II, Henry IV：part one, Et soudain, des nuits d'eveil and Tambours sur la digue. Based on these works, it examines how East Asian traditional theatre had inspired Mnouchkine’s works, and what directing methods that she had used to transform the East Asian mise-en-scene and acting techniques. This study also identifies and criticizes the decontextualization of East Asian elements in Mnouchkine’s works by contrasting her works with traditional East Asian theatres. Meanwhile, I also recognize Mnouchkine’s brilliant contribution in fusing and transforming Oriental theatre elements into a whole new theatre form. Ariane Mnouchkine received divided opinions on her works containing East Asian signatures after touring the world. These differences in opinions then further facilitated dialogue and exchanges between the Eastern and the Western cultures, as well as introspection on both sides.