重複與差異的等待——等待果陀、進城、車站之主題研究

Repetitive and Different Waiting--- The Search on Waiting for Godot, Entering City and Bus Stop

貝克特的成名作《等待果陀》（1949）以兩幕雷同卻又不一樣的等待情節開始，其後所有劇作無不以重複內容表現其要旨。華文劇作家馬森和高行健，深受貝克特劇作的影響，也以等待為主題，先後完成《進城》（1982）和《車站》（1983）；無獨有偶，兩齣作品皆以重複對話和動作表現等待的焦慮和茫然。從表現形式，可見兩齣劇作模仿《等待果陀》的痕跡，但從不同的結構，我們看到三齣劇作呈現明顯差異的思想觀點佛洛伊德（Sigmund Freud）的「超越快樂原則」探討人類重複行為的心理動機，而德勒茲（Gilles Deleuze）的「差異與重複」理論則是對於西方哲學和美學經驗（文學、繪畫、音樂、電影和戲劇）問題的探索。本論文除了細論三齣戲劇的重複內容和其隱含的哲學意義和社會議題；也借用兩位學者的論點，比較《等待果陀》、《進城》和《車站》的主題內容。

Waiting for Godot (1949), Samuel Beckett's most famous play is based on two acts of similar but different plot about awaiting. He is used to create his later plays with the same style of repetitive plot. Influenced by Beckett's work, Ma Sen's Entering City (1982) and Gao Xing-Jian’s Bus Stop (1983) are dealing with the condition of anxiety and perplexity while waiting, based on their repetitive actions and dialogues. There are similarities among the three plays in term of style, however, there are very different respects of theme on the other hand. The both theories of ＂beyond the pleasure principle＂ by Sigmund Freud, and ＂difference and repetition＂ by Gilles Deleuze, concern with the main topic of repetition. The former analyzes the motivation of human's behavior and the latter researches on western philosophy and aesthetics (literature, painting, music, film and drama). This essay probes into the significance and social issues of repetition in the three plays. In addition, it studies the comparison of themes among the three plays, based on the theories of Freud and Deleuze.