中國當代戲劇中的靜止與凝視──從《萬尼亞舅舅》與《櫻桃園》看李六乙的「靜止戲劇」

Stillness and Gaze of Contemporary Theatre in China-A Study of Li Liuyi's ”Static Theatre” through his Uncle Vanya and The Cherry Orchard

一九九○年代崛起、被譽為最懂戲曲的中國前衛劇場導演李六乙，作品因長期挑戰觀眾的欣賞習慣備受爭議。其九○年代末作品已有劇場（theatre）與戲劇（drama）互相疏離之象，二○○○年執導《原野》時重構曹禺劇本，遭批評將原劇支離破碎而令人難以理解。儘管近年作品完整保留劇本台詞，但舞台場景並未呈現應有的戲劇動作，而更多將其靜態化，使戲劇性元素被削弱降至場面調度的背景。由此其演出更引人注目的是場景語言而非戲劇語言，同時此靜態化創造了一種舞臺的目光時間（a time of gaze），令觀眾更多以凝視之態觀看，「感知」總體視覺多於「閱讀」故事。李六乙在二○○六年提出「靜止戲劇」概念，後有一系列實踐作品，《萬尼亞舅舅》（2015）與《櫻桃園》（2016）為其靜止戲劇的兩個不同藝術手法的成熟之作，如《萬》劇有大量緩慢和停頓處理，《櫻》劇則展現長時間靜止，演員沉默地注視著觀眾。靜態化劇場風格在西方和亞洲皆有，但在中國現當代話劇傳統中卻相當罕見，此使李六乙的靜止戲劇在話劇發展中具特殊性，引起一系列可探究的提問，除了有關於創作、劇場本體層面和觀賞層面的問題，也有文化美學根源的追問。本文除探討其靜止戲劇之舞台語彙及其概念與意涵，也將剖析李六乙的靜止戲劇與西方類似劇場現象的異同，並探究其在中國文化的美學根源。此外，像李六乙這類不以劇本和戲劇性、而是以場景為表現主體的劇場導演，戲劇分析者長久以來面臨要採用何種研究分析方法才能有效探討的問題。本論文立基於過往導演研究經驗、田野調查與描述分析方法，並汲取歐陸學者帕維斯（Patric Pavis）之表演分析理論具啟發性的概念，期透過研究李六乙作品探索合適的表演分析方法。

Emerging in the 1990s, Li Liuyi has been praised as the avant-garde theater director who has demonstrated the deepest knowledge of xiqu among his contemporaries. However, he has also been labelled controversial for challenging audiences' customs of drama appreciation. Since the late 90's, his works have gradually shown a characteristic of staging in which the theatre is alienated from the drama. In Li's directorial work The Wilderness (2000), he reconstructed Cao Yu's classical play and was severely criticized for both fragmenting the play and creating difficulties in understanding it. Although his recent works retain the original play structures and lines, the drama has not been shown in a corresponding way but presented in a static mode. This weakens the dramatic elements in these plays and turns them into mere backgrounds to the staging. In this respect, what catches the audience's attention is the language of the scene, not the drama. Furthermore, Li's static mode creates a stillness of time on stage that encourages the audience to gaze, to perceive the performance more than focus on the stories. In fact, Li proposed the concept of ＂static theatre＂ in 2006. In this vein he created a series of stage works, among which Uncle Vanya (2015) and The Cherry Orchard (2016) respectively represent two major styles. Uncle Vanya is full of slowness and pauses, while in The Cherry Orchard there is a long period of stillness, and the actors stare at the audience in silence. Although static style exists in both Western contemporary theatre and the Asian theatre tradition, it's hardly seen in huaju tradition. This makes Li's works unique and could raise inquiries related to theater's ontology, audience's reception, or aesthetic origin. In addition to discussing the directorial language, concepts and meanings of Li's ＂static theatre＂, this article will also analyze the similarities and differences between Li’s style and similar theater phenomena in the West, as well as explore its aesthetic roots in Chinese culture. Moreover, theatre analysts have long lacked suitable analytical methods for the works by theatre directors like Li who do not lay emphasis on drama but on scenic language. Based on past experience and research on director study, coupled with inspiration from Patrice Pavis's theory, this article also attempts to make an exploration into possible ways for performance analysis via Li's works.