戲劇性的幻滅：以後設戲劇觀點解讀皮藍德婁的《亨利四世》

The Disillusion of Theatricality: a Metatheatrical Reading of Luigi pirandello's Henry IV

本文針對皮藍德婁《亨利四世》一劇的後設劇場手法，包括戲中戲和角色扮演，分析其形式及內涵，藉此探討《亨利四世》劇中如何拆毀劇場所呈現的虛幻效果。同時，並辯証《亨利四世》在這自我反思劇場藝術的面具裡，其實不時表露了皮藍德婁對人生與戲劇的哲學理念。皮籃德婁在《亨利四世》劇中利用劇中劇與戲外戲推動情節發展，同時呈現了戲劇表演的準備過程，暴露劇場所造的假象。而劇中人物雙重或多重角色的扮演，更讓劇場的假象展露無遺。在了解〈《亨利四世》劇所呈現的戲劇假象的同時，期望讀者亦能藉此體會皮藍德婁的幽默內涵。

This paper examines the metatheatrical elements in Luigi Pirandello's Henry IV. First, I will survey the theory on metatheater with an emphasis on the play within the play, role playing within the role, and self-reference. Then, I will try to analyze Henry IV and trace its metatheatrical elements. What I want to highlight here is how Pirandello employs these devices to bring to light his philosophical idea on theater and life as well as life and form. After a close examination, I found that, by plotting the play within the play, Pirandello discloses the process of theater-making as well as the fictional theatricality. In the role-playing games, Henry role-plays as an actor, a madman, a director, and the spokesman for Pirandello. His multiple roles along with the busybodies' double identities also break the theatrical illusion and successfully create the effect of estrangement for the audience. In addition, Henry, as Pirandello's double, also clarifies Pirandello's humor theory on the closeness between theater and life and the antithesis between life and form. Hopefully, the audience may recognize the disguises and deceptions in life and learn the humor Pirandello possesses.