女巫與馬克白之爭──莎劇原典與呂柏伸《女巫奏鳴曲‧馬克白詩篇》引伸的美學思考

The Battle Between the Witches and Macbeth - The Extended Aesthetics Study of Macbeth and Lu Bo-Shen's Sonata of the Witches － The Macbeth Verses

以聲音與視覺見長的導演呂柏伸於2003年和2007年兩度搬演莎士比亞的《馬克白》，更名為《女巫奏鳴曲．馬克白詩篇》，強化女巫的重要性。《女》劇的特色在於女巫串連全場，和馬克白形成勢均力敵的重要人物。兩次搬演的劇情雷同，但表演內容殊異。此文以2003年的《女巫奏鳴曲．馬克白詩篇》和莎劇《馬克白》做詳細分析比較，再補充2007年台北場的演出內容，以探討呂柏伸強調女巫的原因，繼而探討其劇場美學，及該劇為台灣劇場提供值得省思的問題。

Lu Bo-Shen, expert in voice and vision, directed Sonata of the Witches－The Macbeth Verses in 2003 and 2007, adopted from Shakespeare's Macbeth. In his direction of the adopted Macbeth, Lu enhanced the function of the Witches to maximum; the witches' presence on the stage at all times fuels the captivating power struggles between Macbeth and the dark and bewitching figures they represent. The performances of Witches differed in 2003 and 2007, even as the plots of the two remained similar. This essay compares the differences between Macbeth and the 2003 version of Witches, plus a side comment on the 2007 performance in Taipei, and discusses the reasons behind Lu’s emphasis on the witches, the aesthetics of Lu's theatre and the questions it raises for Taiwan theatre.