再探亞陶殘酷劇場：「演繹理論」與「理論表演」之辯證

Dialectics of “Performing Theory” and “Theoretical Performance” in Artaud’s Theatre of Cruelty

本文從五個面向再次測繪亞陶殘酷劇場。（1）亞陶其人，（2）演繹理論／理論表演，（3）脈絡化亞陶：亞陶研究的取徑，（4）亞陶和解構的對照與交軌，（5）亞陶的煉金術：理論與表演的心物一元。由於歷來「亞陶學」的「主流」，在討論視角和方法學上漸有其限制與困境，因此本文提出「演繹理論、理論表演」的概念，做為用來閱讀、理解亞陶殘酷劇場的另類路徑與新突破，嘗試解決長此以往最為人詬病的亞陶理論與實踐之間脫勾、斷層的問題。易言之，本文意圖回答，殘酷劇場也許並不是令亞陶飲恨終生的未竟之志，殘酷劇場的真實實踐，成敗不在《頌西一家》，更不是《血如噴泉》，而是早已經藉由他眾多龐大的文字作品中開展的演繹理論與理論表演的過程具現。本文不特別針對亞陶的戲、演出或劇本做分析，而單純就他的論文寫作，來談他如何在一個頭下腳上、顛倒反轉的境界裡頭，進行演繹理論、理論表演。將展演與寫作的界限框架，徹底「破壞」。至於亞陶和德希達，以及表演和理論在殘酷劇場和解構的迴圈底下，如何更深刻辯證這部分，本文也會發展，目的之一也在調查亞陶與解構可能是同盟還是背逆的關係？而亞陶的演繹理論，是否正是一種「解構理論式」的表演語境？繼而發現那條通抵「勝義畢竟」（也即亞陶的「殘酷」與「真正的劇場」）的道途，是否可以經由後結構的迂曲迴路，繞行穿越，最終殊途同歸？抑或，亞陶與解構雖有共通處，卻仍舊在某個關鍵岔口分歧，以致最終背道而馳？亞陶所信服的「究極真實」，是否無法以「西方理性主義的文化語言」來解釋甚至「見道」？最後，本文還想大膽提出亞陶如何應用、落實他所醉心的「煉金術式」的思路，來衝破文字和意象、精神和肉體的藩籬，轉化世俗性與超越性的限制，合攏生命和劇場、展演和書寫、實作與理論的分別，使得看似猶如形而下與形而上、褻瀆與神聖、混沌與秩序、毀滅與救贖這般不同的樣態，得以彼此「越界」、相互穿透。

Following the analyses made by scholars and critics like Jacques Derrida, Susan Sontag, Martin Esslin, and so forth, this project contextualizes an understanding of how Artaud as a crucial avant-gardist and modernist artist—together with his performance arts（both in theory and through practice）—has been viewed in the historical trajectories of Western theatrical development and Western “philosophy” from the 1950s onwards. Second, this paper aims to establish a concept, a term: “performing theory and theoretical performance”; and argues for its “legitimacy” in helping to more “effectively” re-investigate and discuss the theatre of cruelty. My hope is to demonstrate Artaud’s yearning for an alternative, redemptive aesthetic language that might not be accomplished simply by theatrical practices or virtual stage productions, but, rather, be materialized in theoretical performance. Artaud’s idiosyncratic style of writing, encapsulated in hybrid genres, is, in the meanwhile, essayistic, metaphysical, poetic, “performative,” even “deconstructive.” In other words, Artaud’s theoretical writing exists as both the process（becoming）and the presence（being）of performance itself. The dialectics of performing theory and theoretical performance in the Artaudian theatre of cruelty that is showcased in his work, especially The Theatre and Its Double, is closely read and analyzed in my paper. Moreover, Derrida’s and Sontag’s writings on Artaud shall be carefully examined.