卸下面具：皮藍德婁《亨利四世》中的角色扮演遊戲

Breaking the Masks: Role-playing Games in Luigi Pirandello's Henry IV

10.29737/SJFLL.200609.0003

林世君(Shih-Chun Lin)

角色扮演 ； 後設戲劇 ； 身份認同 ； 面具 ； role playing within the roles ； metatheatre ； identity ； mask

東吳外語學報

23期（2006 / 09 / 01）

53 - 86

繁體中文

本文針對皮藍德婁《亨利四世》一劇的角色扮演遊戲進行分析，藉此探討亨利如何扮演多重角色，並揭露他人虛偽的面具。同時；並辯証《亨利四世》在這自我反思的劇場藝術面具裏，不時透過亨利透露皮藍德婁對人生與形式的對比以及人生如戲的哲學理念。劇終亨利所犯的罪更讓他成為典型皮藍德婁式的悲劇英雄，因無法在虛幻與現實中取得平衡，只能將自己囚困在層層的面具中以求生存。

This paper examines the role-playing games presented in Luigi Pirandello's Henry IV. First, I will survey both Pirandello's idea of ”costruirsi” and role playing within the roles in metatheatre. Then, I will analyze the role-playing games in Henry IV from two perspectives: one is the role-playing game Henry constructs and the other is that of the visitors'. In Henry's role-playing game, he self-consciously plays several roles: an actor, a madman, a director and producer, and the spokesman for Pirandello. His multiple roles along with the busybodies' double identities break the theatrical illusion and successfully create the effect of estrangement for the audience. In the visitors' role-playing game, Henry is forced to expose his multiple masks before others. While unmasking his masks, Henry tears off the others' masks simultaneously. Being the spokesman for Pirandello, Henry also discloses Pirandello's idea on the antithesis between life and form and his tragic view on the theatrical and masked human life. The crime he commits at the end of the play proves him a Pirandelloian hero who, being unable to adjust himself to the incongruities between his illusion and reality, is doomed to imprison himself in his masks forever because it is the only way for him to survive in the harsh reality.

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