燈籠與深淵：皮藍德羅戲劇的考察

Abstract

本研究採取較特殊的策略，提供一個「廣角式」的皮藍德羅戲劇論述。欲將視野擴大至皮氏劇作整體，在對作品多數樣貌的理解上建立一脈絡化的描述。目標為釐清劇作家的重點哲藝思索，及這些如何表現於其戲劇中。標題的「燈籠」和「深淵」並非一組對比：它們分別指向皮氏眼中現實的兩層次，而對應到本研究脈絡化其戲劇時依循的參照點。燈籠涉及意識的火光及賴以維生的幻象，攸關存在。深淵涉及吞滅認識與主體的無底波動，暗示解構。 前半部第二至四章勾勒論述皮藍德羅的基本藍圖。分別梳理皮氏主張的幽默——強調聆聽他者、矛盾無解；他創作的出發點——人的存在處境，或曰幻滅之後面對的漆黑虛空；他與後結構主義相近的思索——現實為建構的產物，底下是無法直接認識的不明流動。 後半部第五、六章在此基礎上延伸探討劇本。由主題方面觀察劇作對生活、溝通、愛等肯定的一面：其實呈現的並非全盤推翻、遁入個人孤絕的內心世界，而是曖昧迂迴地在這沒有客觀的年代，尋找共同價值的可能。再由美學形式方面觀察皮氏與寫實的關係：在一切為詮釋的再現觀下，逼真模擬與奇幻狂想之間互相流通，台上創造的虛構也始終指向無可迴避的、人類共處的此現實宇宙。

The present study aims to offer a reexamination of Pirandello’s theatre by incorporating his less well known plays into the scope of study, and by contextualizing his philosophical and aesthetical stances in the history of modern European thoughts. Part one attempts to describe three major threads interweaving across and determining the playwright’s works. Chapter two demonstrates how Pirandellian humor is fundamentally a sense of polyphony and constant self-contradiction. Chapter three observes the existential concerns laying at the root of his writings. Chapter four relates humor and an existential loss of meaning to the playwright’s radical view: of truth/life as an indistinct and inaccessible flow, around which the fictional constructions of human cognition are built – a view that shows affinities with poststructuralist thoughts. Part two assesses Pirandello’s project on the basis of textual study, focusing on the thematic (chapter five) and stylistic (chapter six) explorations as seen in his oeuvre of plays. Chapter five argues that Pirandello’s plays do not reflect a total negation nor a retreat into the subjective, but rather a kind of dialogism, an ambiguous affirmation of life and the possibility of communication. Chapter six argues that reality and representation are both redefined in Pirandello such that in the end, no true divide separates the realistic/mimetic from the nonrealistic/fantastical.