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    Title: Du chaos à l'état cosmique : l'analyse de la mise en scène de l'Orestie d'Olivier Py
    Other Titles: From chaos to cosmos : Olivier Py's the Oresteia
    Authors: 戴小涵;Tai, Hsiao-Han
    Contributors: 淡江大學法國語文學系碩士班
    徐鵬飛
    Keywords: 奧利維耶.比;奧瑞斯提亞三部曲;希臘悲劇今演;法國劇場;場面調度分析;浪漫化演技;民主的概念;Olivier Py;Oresteia;French theatre;Greek Tragedy;analysis of mise en scene;Romantic acting;the concept of democracy
    Date: 2014
    Issue Date: 2015-05-01 13:41:05 (UTC+8)
    Abstract: 希臘悲劇的當代演出仍然常見於法國劇院的舞台上。一再上演西方戲劇的源頭,代表這些劇作仍有其重要之處。無論是古與今的連結、對戲劇源頭的再思索、再解讀、演譯新譯劇本;隨著導演對劇本解讀的不同,現在依然不斷有新意義從經典戲劇中開發出來。
    本論文分析奧利維耶.比在2008年執導的《奧瑞斯提亞三部曲》,依照主題,分為四個部份:第一個部份由舞台設計出發,討論劇中古今價值觀交會的時間點、風雨欲來的氣氛以及血腥暴力的舞台意象。第二部份則討論演員演技、角色的安排,以釐清導演對角色及希臘悲劇中性別議題的看法。第三部份根據道具以及視覺意象,探討本劇中「民主概念誕生」的主題。正義觀念的改變、「謀殺(國王)」從私人復仇成為了公眾議題,民主的概念由此產生。更者,人世的價值觀就此與神界的價值觀一致,達到宇宙秩序。第四部份討論本次演出的新翻譯與歌隊的形式,首先,由於希臘悲劇語言複雜,現代演出中常常顧著顯露字詞意義,而忘記觀戲時觀眾手裡沒有劇本可以對照,全靠聽覺接收。本次的翻譯相當適合演出、句子短而意義顯白,是考慮觀眾觀戲時接收能力而譯的佳作。歌隊語言以往在古希臘演出中韻律、語言結構複雜。此次演出中,歌隊全使用希臘文演唱,伴以現場弦樂四重奏,近似歌劇。最後,奧利維耶.比又在《奧瑞斯提亞三部曲》後,搬演同樣由埃斯奇勒斯所創作的希臘悲劇,一共七個作品。作品形式活潑、輕便,適合隨處演出。總的來說,奧利維耶.比的希臘悲劇系列演出,活絡了希臘悲劇的語言和表演形式。
    Greek Tragedies are still commonly performed on contemporary French stages. This undoubtedly indicates the significance of theses plays. Several themes of mise en scene are possible: comparing the ideologies from ancient times to the ones at the present day, rethinking the origin of the genre “theatre,” and performing a newly translated text on the stage, etc.
    This thesis, which can be divided into four parts, is an analysis of mise en scene of Oliver Py’s Oresteia in 2008. It begins with my analysis of the scenography. The theatrical devices, the color red and the constant dripping water both carry symbolic meanings. In the second part, the acting techniques and the character arrangements will be discussed, which helps the understanding of the conflict between men and women in the tragedy. Subsequently, by analyzing the stage properties, the mirror and the sword, we can argue that the shift from self-awareness to civic consciousness and the concept of justice form the basis of democracy. Furthermore, later the secular values accord with the sacred tenets, developing into a state of cosmos.
    Olivier Py’ new translation is suitable for acting with its shortened scripts and plain meaning. Thus, it is also more auditable for the audience while watching. This time, the chorus sing in Greek with quartet’s accompanient, creating an effect like an opera. To conclude, Olivier Py not only directs Oresteia but also all the other plays from Aeschylus. Olivier Py surely makes the language and the form of performing Greek Tragedy more vivid.
    Appears in Collections:[法國語文學系暨研究所] 學位論文

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