如何接近真實：太田省吾早期劇本的「不言之言」

How to Access Reality: ＂Talking through Nontalking＂ in Ōta Shōgo's Early Plays

金潤貞(Kim Yun Jeong)

太田省吾 ； 沈默劇場 ； 日本地下劇場 ； 小劇場運動 ； 沖繩 ； Ōta Shōgo ； Theatre of Silence ； Japanese Underground Theatre ； Little Theatre Movement ； Okinawa

戲劇學刊

32期（2020 / 07 / 01）

89 - 104

繁體中文

太田省吾（1939-2007）是日本小劇場運動的主要代表人物之一，通常被認為是「沉默劇場」（chinmoku geki沈黙劇）的發起者。儘管這種獨特戲劇形式的起點是1981年時《水之車站》（水の駅，The Water Station）的首演，但在他某些先前的作品中已經引入了使用「沉默」作為敘事手段。本文研究了兩部早期劇本，《公車上的九個場景》（合自動車の上の九つの情景，Nine Scenes on a Bus，1969年），《黑燕尾蝴蝶的乳房》（アゲハの乳房，Breast of the Black Swallowtail Butterfly，1970年），這兩者都是所謂的《沖繩三部曲》的一部分，為太田省吾達到自己新戲劇語言的過程，提供了新的視角。在描繪沖繩（1972年重新回歸日本）的現實時，太田省吾實際上選擇使用如夢般的意象和模糊性來間接地表明它。通過對這兩齣戲的分析，我們可以了解太田省吾劇場方法論的基本思想，以及新的表達工具，尤其是戲劇語言，如何被發展出來。

Ōta Shōgo (太田省吾, 1939-2007), one of the leading exponents of the Japanese Little Theatre movement, is generally recognized as the initiator of the ＂Theater of Silence＂(chinmoku geki 沈黙劇). Although the starting point of this unique theatrical form was the premiere of Mizu no eki (水の駅, The Water Station) in 1981, the use of ＂silence＂ as a narrative devise had been already introduced in some of his previous works. This paper examines two early plays, Noriai jidōsha no ue no kokonotsu no jōkei (乗合自動車の上の九つの情景, Nine Scenes on a Bus, 1969) and Kuroageha no chibusa (黒アゲハの乳房, Breast of the Black Swallowtail Butterfly, 1970), which are both part of the so-called ＂Okinawa Trilogy,＂ shedding some new light on Ōta's 'process' for reaching his own new theatrical language. On depicting the reality of Okinawa (which returned to Japanese sovereignty in 1972), Ōta chose in fact to indicate it only indirectly, through the use of oneiric images and vagueness. The analysis of these two plays allows us to understand the essential ideas of Ōta's theatre methodology, as well as how new tools of expression, and in particular the language of theatre, developed.

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