＂The Dark Clouds' Silver Lining＂: Dynamic Explorations of Self-identity in Krapp's Last Tape

「烏雲盡頭的曙光」－《克拉普的最後一卷錄音帶》中的動態敘事展演

陳宛利(Wan-li Chen)

Krapp's Last Tape ； Samuel Beckett ； Narrative ； Time ； Audiences' Empathetic Responses ； 《克拉普的最後一卷錄音帶》 ； 薩繆爾．貝克特 ； 敘事 ； 時間 ； 觀眾共感

興大人文學報

63期（2019 / 09 / 01）

37 - 56

英文

In Krapp's Last Tape by Samuel Beckett, the performative aspect and the use of technology-mediated narrative complement each other in conveying the playwright's empathetic position on human existence. The theatrical capacity of the play invokes multidimensional presentations of the narratives, creating a stronger impact on audiences than traditional forms of narration could offer. The use of past narratives stages an essential dramatic conflict between the character and his former self, and the involved tension drives the plot forward. The performative aspect of the drama facilitates not only non-linear presentations of the narratives but also dynamic explorations of self-identity in the trajectory of time. The juxtaposition of narrated monologue in Krapp's Last Tape presents a dynamic form of narratives across theatrical boundaries that energize the audiences' empathetic responses and invites them to act beyond their position of empathetic engagement with the character. Focusing on Krapp's Last Tape, this paper examines the narrative's dramatic purposes and theatrical effects with regard to the creation of empathetic processes on stage.

薩繆爾．貝克特的劇作《克拉普的最後一卷錄音帶》，戲劇的表演性與敘事手法相得益彰，傳達對貝克特對人類存在的移情共鳴。此戲劇以多面向的方式展現敘事，相較於傳統敘事手法，更能打動觀眾。藉著過往敘事，彰顯角色與過去自己對立的戲劇衝突，推動劇情發展。戲劇的表演性不僅呈現非線性的敘事，也在時間軌跡中開展角色自我認同的動態探索。敘事與劇場的結合運用，不斷接續的敘事獨白，跨越舞台界線引發觀眾共感，又激盪觀眾從戲劇中抽離，回到自身去行動。本論文針對劇場引發移情共感的過程，探討此劇中的敘事戲劇目的性與劇場效果。

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