寓言視覺性、姿態引用與技術政治－班雅明（Walter Benjamin）的劇場啟明

Visuality of Allegory, Citation of Gesture, and Techniques of Politics: Walter Benjamin's Illumination of Theater

吳承澤(Chen-Tse Wu)

班雅明 ； 巴洛克寓言 ； 布萊希特 ； 姿態引用 ； 視覺性 ； Benjamin ； Baroque allegory ； Brecht ； citation of gesture ； visuality

戲劇學刊

17期（2013 / 01 / 01）

95 - 123

繁體中文

本論文關注的焦點在於哲學家班雅明的劇場美學。班雅明的認識論思想，在重要的班雅明研究學者耐加爾（Rainer Nägele）在《劇場、理論與沉思》（Theater, Theory, and Speculation）一書的分析當中，其實隱含著一個從劇場審美經驗角度加以詮釋的面向，這將是本文的取向，本文將從這個角度來研究班雅明知識論和劇場理論之間的關連。但面對這個議題時，除了理論上的合理說明，班雅明和布萊希特（Bertolt Brecht）的交往關係，也提供一個作為理論經驗基礎的重要關鍵。班雅明在1920年代末期至1930年代初期和布萊希特有過一段密集交往的日子，對彼此的理論建立有著巨大的相互影響，因此班雅明本身的劇場理論和其對布萊希特的詮釋，以及這兩者的內在關聯將是本文所要處理的主要議題。在這樣的角度下，本文首先處理的是班雅明眼中具有巴洛克寓言特質的戲劇形式與希臘悲劇象徵特質的對立；接著在這樣的理解下，本文將會處理辯證意象這一重要理論範疇，如何轉變為史詩劇場（epic theater）的姿態引用模式；最後本文將會討論姿態引用此一創作技術在1930年代技術政治上的意義。

This paper attempts to probe into Walter Benjamin's aesthetics of theater. In Theater, Theory, and Speculation, Rainer Nägele, one of the most important Benjamin scholars, puts forth the three notions of visuality, theatricality, and epistemological theory to analyze Benjamin's epistemology, which apparently includes insightful observations of theater. Nägele reveals an implied dimension in Benjamin's epistemology that envelops the aesthetic experience of theater, which becomes the main focus of this paper. Following Nägele's lead, this paper will investigate the relation between Benjamin's epistemology and the theory of theater. Furthermore, besides the theoretical perspective, the cultural and historical context of the friendship between Benjamin and Brecht also has to be taken into consideration as the foundation for the theoretical discussion. From the late 1920's to the early 1930's, Benjamin and Brecht were intimate friends who discussed the questions of theater together. In this friendship, Brecht found a theorist who interpreted the Marxist implications in his theatrical techniques better than himself; as for Benjamin, he was astonished to find Brecht's epic theater the representation of the twentieth-century version of the reappearance of a kind of dramatic form, which has either been repressed under the Greek tradition or marginalized for other reasons. Therefore, this paper will examine in detail Benjamin's theory of theater and his interpretation of Brecht's theatrical experiments, as well as the entwined relation between the two. This article will consist of three issues: the interpretation of Benjamin's theory of Baroque allegory, the close relationship between dialectical image and the citation of gesture in epic theater, and the meaning of the citation of gesture as the revolutionary technique in 1930's.

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