| 摘要: | 法國劇場導演穆努虛金(Ariane Mnouchkine)1964年成立陽光劇團(Théâtre du Soleil)之際，運用即興喜劇與即興表演，進行集體創作；開放劇本文本/演員肢體/舞台空間/音樂樂風/服裝化妝等劇場元素的創作可能性。在「劇場是東方的」理念下，穆努虛金堅持在每齣新戲中注入東方的，特別是亞洲的戲劇表演語彙，陽光劇團演員接觸學習日本能劇、歌舞伎、中國京劇、西藏宗教樂舞、巴里島傳統舞蹈等表演訓練，經集體創作轉化成具傳統東方色彩的現代西方戲劇表演，在法國當代劇壇獨具風格。本計畫研究穆努虛金身體書寫美學，著重其參與陽光劇團集體創作，與演員互動建構戲劇情境、狀況、人物；以身體語言取代文本語言；兼及剖析身體書寫之概念與集體創作之共生實踐。本計畫將以陽光劇團八○至九○年間五齣劇作《可怕卻未完成的歷史，柬埔寨國王》(1985)、《印度或他們夢想的印度》(1987)、《仁慈女神》(1992)、《偽城或復仇女神之甦醒》(1994)及懸絲淨琉璃人形偶戲《河堤上的鼓手》(1999)為研例，分別爬梳各劇本主題/人物/情節/意涵/語言，輔以劇場舞台之具象立體表演(演員/音樂/燈光/服裝/化妝/舞台調度等)，交綜探討身體書寫理念，釐清介/界於「外在─身體─形式」與「內在─情感─狀況」之身體書寫戲劇/身體書寫情感之核心價值；體現身體/情感、可見/不可見的相依/獨立特性。期能釐清身體書寫與集體創作表演之互動/互生關係，忠實勾勒穆努虛金身體書寫美學價值。
French Theatre Director, Ariane Mnouchkine, who founded Théâtre du Soleil in 1964, adopted the histrionic way of création collective, commedia dell’arte and improvisation to open the creative possibilities of some theatrical elements, such as dramatic text/actor’s body/stage space/ musical style/ costume and makeup. Based on the concept of “le théâtre est oriental”, Ariane Mnouchkine insist on injecting oriental histrionic terms, especially Asian histrionic terms, into each new play. Actors of Théâtre du Soleil may learn some histrionic training, such as Japanese Noh, kabuki, Chinese Beijing Opera, Tibetan religious dance, and traditional Balinese dance. By way of création collective can Ariane Mnouchkine transform her play into modern western drama performance that possesses traditional oriental hues, which is exclusive in contemporary French theatre field. This project explores Ariane Mnouchkine’s dramatic aesthetics of Écriture Corporelle, accentuating her participating in création collective of Théâtre du Soleil and how she interact with actors, how she construct dramatic settings, conditions, figures with actors , and how to train actors to replace textual languages with body languages. Beside, this project also analyses the concept of Écriture Corporelle drama and the commensal practice of création collective. This project will take five plays of Théâtre du Soleil during 1980s to 1990s—L’Histoire terrible mais inachevée de Norodom Sihanouk, roi du Cambodgd (1985), L’Indiade ou l’Inde de leurs rêves (1987), Les Euménides (1992), La ville parjure ou le réveil des Erinyes (1994) and puppet play Tambours sur la digue (1999) as examples to put each play’s script theme/characters/ plots/connotations/languages with orders respectively and take theatre stage’s concrete and three-dimensional performance (actors/music/light/costume/ makeup/blocking) as auxialary to interweave the exploration of concept of Écriture Corporelle, defining the inbetween/borders between the core value of Écriture Corporelle play and Écriture Corporelle feeling of ”external—body—form” and “internal—feeling—condition,” and represent the interdependence/independence of body/feeling and visibility/invisibility, so that we can make it clear that the interrelationship/interdependence of Écriture Corporelle play and création collective performance and therefore outline the aesthetical value of Ariane Mnouchkine’s Écriture Corporelle play. |
