從認識論真理到劇場文本中的真理－阿多諾的戲劇美學

From Epistemological Truth to Theatrical Truth-Adorno's Aesthetics of Drama

10.29776/TTJ.201107.0006

吳承譯(Chen-Tse Wu)

阿多諾 ； 意識型態批判 ； 文化工業 ； 戲劇美學 ； 貝克特 ； Adorno ； Critique of Ideology ； Culture Industry ； Aesthetics of Drama ； Beckett

戲劇學刊

14期（2011 / 07 / 01）

153 - 182

繁體中文

本文將從以下兩個角度來檢視阿多諾的戲劇美學。首先是阿多諾如何將其獨特的認識論模式轉換為戲劇美學。對於阿多諾而言，藝術作品並非是獨立於社會之外，藝術作品的結構核心總是受到意識型態的汙染，甚至表面上拒絕意識型態的作品，其真正內在核心也只是某種意識形態的顯現，因此藝術作品要如何脫離意識形態的汙染是阿多諾戲劇美學的重點。這其實也是阿多諾哲學認識論的要點，因此本文第一個重點在於處理阿多諾的認識論如何轉化為一套戲劇美學。此外本文的另一個重點，在於探討阿多諾實際進行的戲劇批評，阿多諾反對尼采式的戲劇，認為這種戲劇是法西斯主義的同路人，另一方面也反對亞里斯多德式的戲劇，認為那是文化工業的共謀者，對阿多諾而言，只有貝克特的戲劇可以成為他理想的戲劇典範。

This paper aims to examine Adorno's drama aesthetics from two approaches. First, this paper will investigate how Adorno transforms his episteme, the center of his philosophy, into drama aesthetics. For Adorno, art works, just like the other products in society, have no chances to escape from the domination of ideology. According to Adorno's thinking, certain works of art, such as those of modernism or aestheticism, claim that there is no ideological element inside them. However, it would only reveal that ideology finds a deeper and more obscure place to embed itself in those works. Therefore, Adorno conceives a unique philosophy and aesthetics to dispel the toxic ideological elements from knowledge system and works of art. Besides that, what impresses us is Adorno's drama criticism. Adorno criticizes not only Nietzsche's point of view on drama but also Aristotle's. According to his theory, the former is in alliance with Fascist, which is the murderer of human civilization, while the latter gives birth to culture industry, which controls the public mass in the 20th century. From Adorno's point of view, only Beckett's works correlate to his ideal of art work, which is a paradigm transformed from his philosophy.

1. Aristotle. 1909. On the Art of Poetry. Trans. Ingram Bywater. London: Oxford Press.
2. Adorno, Theodor(1977).Aesthetic Theory.Minneapolis:Minnesota.
3. Adorno, Theodor(1972).Dialectic of Enlightenment.NY:Continuum Publish.
4. Adorno, Theodor(1973).Negative Dialectics.NY:Seabury Press.
5. Adorno, Theodor(1991).The Culture Industry: Selected Essays on Mass Culture.London:Routledge Press.
6. Adorno, Theodor,O''Conner, Brian(ed.)(2000).The Adorno Reader.Oxford, UK:Blackwell.
7. Aristotle、陳中梅譯(2001)。詩學。台北:台灣商務。
8. Artaud, Antonin、劉俐譯(2003)。劇場及其複象。台北:聯經。
9. Benjamin, Water(1999).The Arcades Project.Cambridge, Mass.:Belknap Press of Harvard University Press.
10. Benjamin, Water(1998).The Origin of German Tragic Drama.New York:Verso.
11. Benjamin, Water,Zohn, Harry(Trans)(1969).Illuminations.New York:Schocken Books.
12. Brecht, Bertolt,Willett, John(Trans.)(1964).Brecht on Theatre.New York:Hill and Wang.
13. Bürger, Peter,Shaw, Michael(Trans.)(1984).Theory of The Avant-garde.Minneapolis:UP of Minnesota.
14. Derrida, Jacques,Bass, Alan(Trans.)(1978).Writing and Difference.Chicago:UP of Chicago.
15. Dodds, E. Robertson(1951).Greek and the Irrational.Berkeley:UP of California.
16. Eagleton, Terry(1990).The Ideology of the Aesthetics.USA:Blackwell.
17. Eagleton, Terry(1981).Walter Benjamin Or Towards a Revolutionary Criticism.London:Verso Books..
18. Eagleton, Terry、郭國良譯(2005)。沃爾特．本雅明或走向革命批評。南京:譯林出版社。
19. Grotowski, Jerzy,Barba, Eugenio(ed.)(1991).Towards a Poor Theatre.London:Methuen Drama.
20. Habermas, Jürgen(1987).The Philosophical Discourse of Modernity: Twelve Lectures.Cambridge, Mass.:Polity Press.
21. Heidegger, Martin(1959).An Introduction to Metaphysics.Manheim:Doubleday.
22. Heidegger, Martin(1962).Being and Time.N.Y.:Harper & Row.
23. Heidegger, Martin(1971).Poetry, Language, and Thought.New York:Harper &Row Publisher.
24. Husserl, Edmund(1982).Ideas Pertaining to a Pure Phenomenology and to a Phenomenological Philosophy.London:Kluwer Academic Publishers.
25. Jameson, Fredric(1990).Late Marxism: Adorno, Or, The Persistence of The Dialectic.London:Verso Books.
26. Jameson, Fredric(1974).Marxism and Forms.New Jersey:Princeton University.
27. Jay, Martin(1984).Adorno.Cambridge, Mass.:Harvard University Press.
28. Löwith, Karl、田立年譯(2004)。牆上的書寫─尼采與基督教。北京:華夏出版社。
29. Lukács, Georg(1981).Essays on Realism.Cambridge, Mass.:MIT Press.
30. Lukács, Georg(1987).The Theory of the Novel.London:Merlin Press.
31. Merleau-Ponty, Maurice(1981).Phenomenology of Perception.London:Routledge & Kegan Paul.
32. Nägele, Rainer(1991).Theater, Theory, Speculation: Walter Benjamin and the Scenes of Modernity.Baltimore:The Johns Hopkins University Press.
33. Nietzsche, Friedrich(1956).The Birth of Tragedy & The Genealogy of Morals.New York:Doubleday.
34. Nietzsche, Friedrich(1974).The Gay Science.New York:Vintage Books.
35. Nietzsche, Friedrich(1954).Thus Spoke Zarathustra.New York:The Viking Press.
36. Schiller, Freidrich(1965).On the Aesthetic Education of Man.New York:Frederick Ungar Publish.
37. Schiller, Freidrich(1981).On the Naïve and Sentimental in Literature.Manchester:Carcanet New Press.
38. Sontag, Susan(1991).Under The Sign of Saturn.New York:Doubleday.
39. Taylor, Roland(ed.)(1977).Aesthetics and Politics.London:NLB Publish.
40. Wolin, Richard(1994).Walter Benjamin, An Aesthetic of Redemption.Berkeley:University of California Press.
41. Zuidervaart, Lambert(1991).Adorno's Aesthetic Theory-The Redemption of Illusion.Cambridge, Mass.:MIT Press.
42. 林國源(2000)。古希臘劇場美學。台北:書林出版社。
43. 郭軍(2003)。論瓦爾特．班雅明 — 現代性、寓言和語言的種子。長春:吉林人民出版社。
44. 劉小楓(1990)。浪漫、哲學、詩 — 詩化哲學的試論。台北:風雲時代。
45. 鍾明德(2001)。神聖的藝術：葛羅托斯基的創作方法研究。台北:揚智文化。