多重意識的戲劇時空與表演——李六乙「純粹戲劇」及其《原野》之表演分析

Time-space and Acting of Multiple Consciousness --Li Liuyi's Pure Theatre and his The Wilderness

曹禺劇作在中國話劇被視為不可撼動的經典，可從中國當代重要的前衛劇場導演李六乙，二○○○年在北京執導的話劇《原野》的演後反應顯現出來。該劇被認為對曹禺原劇進行了徹底的解構，據當時媒體指出，演後引起的激烈批評在北京實為罕見。之後還進一步引發報紙、雜誌、期刊邀集專家學者們討論戲劇經典該如何被搬演的議題，討論延燒六個月之久，使演出轉變為事件。然整個事件中被淹沒在話題之下的是，李六乙在此作品中進行其藝術生涯中極為重要的實驗，即他把一九九○年代起發展的「純粹戲劇」概念在此劇中推到極限，特別是表現人的多重意識、以及舞台時空轉換的無限性等的舞台手段。實際上當時話劇觀眾對李版《原野》的激烈反應，多少和當代劇場舞台表演研究長期面臨的困境有關，即表演文本在劇場日益佔據核心位置，戲劇文學文本不再是主要欣賞和分析的對象（如李版《原野》），但大部分的觀眾仍舊抱持文學文本中心的欣賞習慣面對此類演出，而問題亦在於，像此類作品究竟該如何進行表演的文本分析研究？本論文以李六乙的《原野》作為切入點，來掌握其戲劇理論觀念以及重要藝術手法，除了以田野調查蒐集與該劇相關之一手資料和訪談，我也嘗試透過聚焦於導演／表演文本之重要元素（包括舞台設置、場面調度重要手法與表演），來分析舞台作品的表演文本，並探討導演文本與劇本文本之間的相互作用產生的意涵。文中汲取法國戲劇理論家帕維斯（Partice Pavis）發展之表演分析（performance analysis）理論中關於表演連續性與向量化（vectorization）概念，作為本研究分析的參考。由於此劇亦涉及曹禺《原野》在中國的詮釋轉變，文中也將討論李版《原野》在曹禺作品搬演史上的意義。 Cao Yu, one of the most significant modern playwrights, is called the Chinese Shakespeare. His plays have been long treated as inviolable in China; proof of this is apparent by the strong reaction of the critics and audience against a stage work of The Wilderness in 2000, directed by contemporary avant-garde theater director Li Liuyi. Li's stage version of The Wilderness was accused of being a thorough destruction of the original play, consequently an act of disrespect to Cao Yu. It finally resulted in a ban on Li's directing any play within the Beijing People's Arts Theatre for several years. According to the reports at the time, the fierce criticism against Li's production was indeed rare in Beijing. Moreover, for at least six months subsequently it led to a large-scale debate in newspapers, magazines, and periodicals on how one should put drama classics on stage. It is a pity that the experimental theatre production, one of the most significant in Li's life, caught no attention during the incident. In the work, Li successfully developed various artistic means for his concept of “pure theatre” which grew in the mid 1990s, such as the coexistence of human beings' multiple consciousness and the infinity of time-space on the stage. The reaction against Li's The Wilderness was to some degree related to the habits of appreciation and analysis of the realist drama tradition that has been the orthodoxy in China for nearly a century. Like theatres in other countries, in contemporary Chinese theatre, drama literature texts are not the main object of a performance while performance texts have become increasingly essential. But methods for analyzing performance texts of the theatre work like Li's The Wilderness are seriously insufficient. This essay, first, aims at exploring the concept and techniques of theatre as practiced by Li Liuyi, by deeply analyzing the performance text of Li's The Wilderness in which stage settings, acting and mise-en-scéne as well as their relations to the drama literature texts will be carefully examined. Partice Pavis's concept of vectorization will also be taken into consideration during the analysis. Secondly, since Li's version is probably the boldest stage interpretation of The Wilderness, the history of staging of Cao Yu's plays will be investigated so as to further unearth the significance of Li's The Wilderness in Chinese theatre.