高行健劇作中的狂歡形象： 以《週末四重奏》、《八月雪》與《叩問死亡》為例

Abstract

高行健的劇場實驗，都是為了尋找適合自己世界觀的表現方式，透過形式表達思想，因此其劇場美學跟哲學思想息息相關，研究其劇作必須從哲學與劇場兩方面同時下手。高行健的沒有主義與巴赫汀的狂歡理論，雖然表達方式不同，但兩者具相同思想：主張消解中心思想的意識形態、強調真實生活，在後現代一片虛無聲浪中指出一條道路。本論文藉由對高行健一手資料的再爬梳，發現其在戲劇與哲學歷史中的承繼關係，佐以巴赫汀的觀點，將兩者互相印證，解釋作者如何在戲劇實踐中反映個人思想，同時傳達狂歡節的精神。以高行健近期三個劇作《週末四重奏》、《八月雪》、《叩問死亡》為主要分析對象。

Through his experiments in theatre, Gao Xingjian looks for a better approach to exhibit the human world. The theatre form, to Gao, is the expression to expose his personal thoughts. Thus, Gao’s theatrical esthetics cannot be separated from his philosophical thoughts. To study Gao’s plays means a research of both his theatre and philosophy. The Without-ism of Gao echoes Bakhtin’s carnival theory. Their different literal expressions embrace actually the same values: to dissolve the ideology of a unique centre, to emphasize the real life, and to try to indicate a way out from the noises of postmodern nihilism. This thesis is to analyze how Gao’s plays follow his precedent theatre and philosophy history. By reviewing Gao’s firsthand unpublished writings, I will examine how the playwright demonstrates his own thoughts through his theatre practice. I will also use Bakhtin’s philosophical observations as reference to Gao’s theory, in order to explain how the playwright conveys the carnival spirit in his works. Three later plays of Gao are my research objects: Weekends Quartet, Snow in August, and The Man Who Questions Death.