| Abstract: | 法國女性主義文學作家艾倫‧西蘇(Hélène Cixous，1937- )以陰性書寫 (écriture féminine)挑戰西方文化結構之語言中心論(logocentrism)及陽性中心論 (phallocentrism)。七○年代劇作多以精神分析學與結構語言學剖析女性主體地位 的異化與疏離，八○年代中業起為陽光劇團書寫戲劇後，其劇作風格轉向政治社 會時事批判與人道關懷。西蘇精湛典雅隱喻之文風，敏銳深刻反省之文思，處處 流露於戲劇書寫之角色語句，功力沉厚，自成一家。本計畫研究西蘇戲劇書寫美 學理念，著重其參與陽光劇團集體創作，如何進行並完成戲劇書寫，兼及剖析戲 劇書寫概念與集體創作之共生實踐。為解析西蘇戲劇書寫美學，本計畫將以西蘇 1985-1999 間為陽光劇團書寫之五部劇作為研例，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)，交綜探討西蘇戲劇書寫之理念與過程，釐清戲劇書寫與集體創作的相依/ 獨立特性。由於西蘇戲劇書寫所牽出之歷史典故/東方傳統/希臘神話/現世政治/ 弱勢邊緣之議題之空間性/時間性極其多元複雜，故本計畫將分二年期進行：第 一年研究《可怕卻未完成的歷史，柬埔寨國王》(L’Histoire terrible mais inachevée de Norodom Sihanouk, roi du Cambodge, 1985)及《印度或他們夢想的印度》 (L’Indiade ou l’Inde de leurs rêves, 1987)；第二年研究《仁慈女神》(Les Euménides, 1992)、《偽城或復仇女神之甦醒》(La ville parjure ou le réveil des Erinyes, 1994) 及懸絲淨琉璃人形偶戲《河堤上的鼓手》(Tambours sur la digue, 1999)。期能釐清 西蘇戲劇書寫與集體創作之互動/互生關係，忠實勾勒西蘇戲劇書寫美學價值。 With her notion of “feminine writing”(écriture féminine), French feminist writer Hélène Cixous (1937-) challenges the logocentrism and phallocentrism of the Western system of metaphysics. In the 1970s, most of her dramatic works employed psychoanalysis and structural linguistics to deal with the female subjectivity in terms of alienation and isolation. In the middle of the 1980s, Cixous started to write plays for Theatre of the Sun (Théâtre du Soleil), and her works for the theater have become concerned with social and political issues in contemporary society with a humanist sympathy. Cixous’exquisite and allegorical style and introspection is remarkable and forms a genre of her own. This project aims to conduct research on Cixous’aesthetics in theatrical writing, focusing on the “collective creation”(création collective) in Théâtre du Soleil—how Cixous and Mnouchkine collectively create the plays in practice of theatrical productions and collective creation. In order to analylize Cixous’theatrical aesthetics, this project will take five plays Cixous wrote for Théâtre du Soleil between1985 and1999 as example. By sorting out each play’s theme, characters, plot, significance, language, and organizing their concrete productions on stage (acting, music, lighting, costume, makeup, mise en scene, etc.), I try to probe into Cixous’concept of theatrical writing and process to clarify the interdependency/independency between theatrical writing and collective creation. Due to the complexity and diversity of the issues in Cixous’plays, this project will proceed in a two-year term, including temporality and spatiality concerning issues such as historical allusions, Oriental traditions, Greek mythology, contemporary politics, the minorities, etc. In the first year, the research will focus on L’Histoire terrible mais inachevée de Norodom Sihanouk, roi du Cambodge(1985) and L’Indiade ou l’Inde de leurs rêves(1987). The second year will center on Les Euménides (1992), La ville parjure ou le réveil des Erinyes (1994), and Tambours sur la digue (1999). The objective aims to clarify the interaction/cooperation of Cixous’ theatrical writing and collective creation and to give faithful contours of Cixous’ aesthetic values. |
