在劇場中飄盪的凝視與慾望－－拉岡解析《安蒂岡妮》及其中的劇場批評模式

he Haunted Gaze and Desire in the Theatrical Visual Experience: Lacan’s Antigone and the Mode of Theatre Criticism behind It

本文主要是從劇場批評的角度來詮釋拉岡對《安蒂岡妮》的討論。對於本文而言，拉岡雖然在討論《安蒂岡妮》之時，為了其理論的需求，說明精神分析架構下的倫理學可能，但本文卻認為拉岡的討論其實可以轉化為一套劇場批評模式。這樣的一套批評模式可從下列兩個角度說明：戲劇世界的符號結構及劇場物質性的視覺審美經驗。首先，對於戲劇符號結構的說明，拉岡的詮釋不同於傳統黑格爾式的詮釋，說明了安蒂岡妮其實展現出一種希臘悲劇英雄倫理的向度，我們可以將悲劇英雄的死亡視為新的城邦倫理誕生的時刻；此外基於拉岡的視覺理論，拉岡對《安蒂岡妮》討論，其實也可以被視為是一種對劇場視覺經驗的分析架構，拉岡認為奠基在安蒂岡妮美麗影像上的視覺經驗，將觀眾帶向了某種生存狀態的極限經驗，因此透過這樣的視覺經驗架構與拉岡慾望理論的嫁接，我們可以找到新的角度來詮釋亞里斯多德所提出的滌淨效果。

This paper aims at re-interpreting Lacan’s discussion on Antigone from a theatrical perspective. In order to develop a comprehensive theoretical analysis, Lacan has examined ethical possibility in Antigone within the framework of psychoanalysis. Interestingly, it is found that Lacan’s psychoanalytical discussion can be transformed into a mode of theatre criticism. First, in terms of the theatrical system of signification, Lacan’s analysis differs from the traditional Hegelian discussion since he points out that Antigone represents a dimension of heroic ethics of Greek tragedy. Second, based on Lacan’s visual theory, his discussion on Antigone can be viewed as a framework of analysis of visual experience of theatre. Significantly, this paper contends that linking Lacan’s analysis of visual experience of theatre with his theory of desire will bring about a fresh angle for reexamining Aristotle’s notion of catharsis.