空的空間：彼得．布魯克的《哈姆雷特的悲劇》與呂柏伸的《哈姆雷》研究

The Empty Space The Study of Peter Brook’s The Tragedy of Hamlet and Lu Po-Shen’s Hamlet

彼得．布魯克的劇場論著《空的空間》在西方現代劇場有其不可忽視的影響力。其「空的空間」概念，強調的是從傳統找出創新的表現形式。布魯克所導的《哈姆雷特的悲劇》，捨棄傳統繁複的舞台設計，以一張地毯為主要的舞台空間，實乃貫徹其「空的空間」概念。呂柏伸的《哈姆雷》以一張沙發為舞台調度的主軸，則明顯受布魯克的影響，然而兩劇所呈現的氛圍卻南轅北轍。此文以布魯克《空的空間》的理念為基本架構，探討布魯克和呂柏伸作品的空間運用技巧，獨白及其他劇場語彙處理的異同點，以了解兩位導演的劇場美學。

The Empty Space, written by Peter Brook, has a prominent influence on the modern western theatre. The concept of ‘the empty space’ makes the most of its points in the innovative performance based on the traditional forms. In The Tragedy of Hamlet, directed by Brook, the stage is not designed in a conventional and complicated way but with only a simple carpet, which practices the concept of ‘the empty space’. Affected by The Tragedy of Hamlet, Lu Po-Shen puts a focus on a sofa which plays the main blocking during the stage buildup in his work Hamlet. The two performances present very different styles while they similarly emphasize the unrestrained space. This essay attempts to discuss the space in the two performances, Hamlet’s monologues and other theatre syntaxes, based on the theory from The Empty Space, in order to understand the two directors’ aesthetics.