另一種模糊美學：論高行健《山海經傳》

Research on the Other Fuzzy Aesthetics: Shanhaijingzhuan by Gao Xingjian

西元2000年諾貝爾文學獎得主，首位華文作家－－華裔法籍高行健，無論在散文、小說、戲劇、水墨畫、美學理論等諸多創作，皆能開拓獨特脫俗之新境。(1)其中《山海經傳》乃以中國神話巨著《山海經》為基石，所建構的一齣史詩現代劇作。此劇不但企圖脫離傳統意識形態，還原原始神話面貌，(2)且「是回到中國古老的戲劇傳統以找尋現代戲劇形式的一種嘗試」(3)。該劇結構多變而統一，劇中人物群像也幾近顛覆傳統形貌，也有當代劇評家將之歸為「荒誕派」(4)。以上諸如從傳統轉化成現代戲劇試驗過程之「不確定性」，或劇作結構「多變而統一」，或劇中人物形塑具「多樣顛覆性」，以及創作類型「荒誕」等現象，均與「模糊美學」理論相關。而歷來尚無自 此主題探究《山海經傳》者，故今另闢新徑，試以「模糊美學」原理探析《山海經傳》，期能開發此劇研究之新視野。

Gao Xingjian, the Nobel Prize in Literature 2000, who got the glory was the first chinese writer. He was born in China, today is a French citizen. His works created a number of inimitable unworldliness, no matter which were the proses, novels, dramas, paints in ink, aesthetic essays, etc. One of his works was Shanhaijingzhuan, it was an epic about modern drama, obtained Shanhaijing from ancient Chinese myth. This drama not only attempted to defect from traditional ideology, but also returned to the original myth shape. Gao Xingjian said,”It was an attempt at making modern drama form from Chinese traditional plays.”The structure of this drama was changeful and unified, the graphic design of players were almost to overturn traditional image, so some stage critics generalized ”the absurd drama.” Such as that unsure change of the course which was from Chinese traditional to modern drama , the changeful and unified structure, a great diversity and overturn traditional image of the graphic design of players, and the style of absurdity, that all connected with Fuzzy Aesthetic. All through the ages, none explored this subject of Shanhaijingzhuan, therefore I broke new ground and tried to take Fuzzy Aesthetic as the principal thing to discuss Shanhaijingzhuan. Expectantly the way could broaden the other new views about this drama.