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    Please use this identifier to cite or link to this item: http://tkuir.lib.tku.edu.tw:8080/dspace/handle/987654321/30059

    Title: 論瘋狂與荒謬下所隱藏的真相-以尤涅斯科三部荒謬劇作為例
    Other Titles: The truth behind madness and absurdity: a study in three plays of eugène ionesco
    Authors: 黃欣嵐;Huang, Hsin-lan
    Contributors: 淡江大學法國語文學系碩士班
    梁蓉;Liang, Jung
    Keywords: 瘋狂;荒謬;非理性;理性;排拒;存在;虛無;madness;absurdity;unreason;reason;exclusion;existence;emptiness;irrational
    Date: 2008
    Issue Date: 2010-01-10 23:19:10 (UTC+8)
    Abstract: 一九五零年代法國「荒謬戲劇」(théâtre de l’absurde)的著名代表作家之一-尤金.尤涅斯科(Eugène Ionesco, 1909-1994)的作品中總是充斥著無意義的荒謬感:枯燥、無意義甚至每況愈下的對白;不確定、可互換或不存在的人物角色;缺乏邏輯、沒有起承轉合的劇情內容。劇作在尤涅斯科強調創作的直覺性、個人經驗呈現、不願受限的舞台表現手法與想像力、以回歸「純戲劇」將戲劇中各元素發揮至極,目的在於表現世界之於他是:怪誔、不可思議、令人驚愕等體驗,透過創新的戲劇藝術,舞台上演出的劇目以瘋狂、反常理般的能量逐漸累積戲劇張力,直到再也無法承受任何意義,因此乍然瓦解、粉碎。
    本論文以三部尤涅斯科的劇作:《禿頭女高音》(La Cantatrice Chauve, 1950)、《課堂驚魂》(La Leçon, 1951)、《椅子》(Les Chaises, 1952)為主要分析文本。另以法國後結構主義思想家傅柯(Michel Foucault, 1926-1984)衍自一九六一年其博士論文的重要著作《古典時代瘋狂史》(L’Histoire de la Folie à l’âge Classique, 1972)中對於「瘋狂」的研究為輔,探討尤涅斯科在此三部劇作中由荒謬訴說的真相,及其累積而成的瘋狂。目的在於藉傅柯追溯瘋狂的真相過程對理性的批判,將之用以分析尤涅斯科的劇作,讓同屬非理性的瘋狂與荒謬重新獲得自由地為己發聲之權力,並且更進一步透過這份非理性意識的覺醒帶出關於人、存在、世界中的其他真相。筆者以社會史、文化史的角度切入,與藝術所具有的廣度與深度,另藉以歷史書寫所帶出較為寬度的視野,企盼能重新評估、衡量、甚至改變某些舊有觀念。
    Eugène Ionesco, known as one of the play writers of the theatre of the absurd in nineteen fifty’s, demonstrated his pieces with absurd, irrational elements: monotonous, meaningless dialogue; uncertain, reversible, more over inexistent characters and illogical play content. He emphasized the instinct of creation, personal experiences, unlimited theatrical techniques and imagination by exaggerating all the dramatic components to excessive in the cause of presenting a “pure theatre” based on his very own feelings to the world: awkward, empty, incomprehensible, astonishing. The theatrical tensity accumulated progressively by madness, unreasonableness, until the meaning of everything crashed in the end of the play.

    Therefore, the main purpose of this thesis is based on the research of madness and absurdity in the three plays of Ionesco: “La Cantatrice Chauve, 1950”, “La Leçon, 1951”, “Les Chaises, 1952”, with an auxiliary study on madness in Michel Foucault’s major work “L’Histoire de la Folie à l’âge Classique, 1972”. The process of research includes: first, a research of the background of French theatre from anti-realistism to the theatre of absurd, and also Ionesco’s theatrical theory in the early twenties. Second, aims at Foucault’s discovery of the hiding truth of madness’ relation with the particular concept of absurdity and emptiness. Third, a discussion of the madness and absurdity in these three plays. In the conclusion, inspired by discovering that the freedom also helps Ionesco and Foucault manifested different vitalities for life in the field of art and literary, the world may seem absurd, people still could transcend it by having a renewing point of view toward our existence in the world.
    Appears in Collections:[法國語文學系暨研究所] 學位論文

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