想像力、真實與主體性：論愛德華．邦德晚期戲劇理論與《咖啡》

Imagination, the Real, and Subjectivity: On Edward Bond's Later Dramatic Theory and Coffe

陳建成(Chien-cheng Chen)

愛德華．邦德 ； 當代英國劇場 ； 戲劇理論 ； Edward Bond ； contemporary British theatre ； dramatic theory

戲劇學刊

33期（2021 / 01 / 01）

115 - 138

繁體中文

愛德華．邦德為當代英國最具代表性的劇作家之一，其早期構劇深受布雷希特影響，到了一九八零年代末期至一九九零年代初期，他開始構思一套新的晚期戲劇理論以及相應的構劇方式來探討當代主體性與倫理的問題。在此論文中，我首先討論邦德晚期理論的兩個關鍵概念：「想像力」與「真實」。在邦德晚期理論當中，想像力是一種主體可以質疑既有意識形態所定義的規則的能力，而主體將現狀懸置的想像力同時也是一種戲劇化的想像力，邦德的晚期劇本構劇方式就是沿著主體想像力的各種可能性展開。接著我討論邦德理論中的真實，結合德希達與布希亞的概念提出「真實碎片的鬼魂式配置」此一框架，說明邦德的晚期構劇中，他如何運用歷史或現實社會中的片段，結合虛構想像的場景，深化其中主體性的想像力層面，使得這些碎片在召喚現實的同時，也展現當中所包含的倫理選擇與主體化過程作為一種真實。最後我用《咖啡》一劇來討論邦德的理論如何落實在他的構劇當中，邦德透過極端倫理情境的想像與大屠殺的歷史場景，將不同意義上的真實碎片進行配置，透過極端情境中對工具理性的懸置，以及當中主體對倫理性真實追求的欲望與潛力，讓觀眾重新省視何謂人性與正義。

Edward Bond, one of the most important contemporary British playwrights, has developed his post-Brechtian dramatic theory since the 1990s in order to account for his later dramaturgy and address the problems of contemporary subjectivity and ethics. In this paper, I aim to analyze this theory by first explicating two pivotal concepts: imagination and the real. Imagination in Bond's later theory refers to the subject's capacity for suspending the order defined by the existing ideology and creating an alternative approach to confronting reality by dramatizing it. Therefore, the bifurcations of Bond's later dramaturgy derive from various ways in which Bond materializes the subject's capacity of imagination. In the following section, by drawing on Derrida and Baudrillard, I argue that Bond's understanding of ＂the real＂ can be defined as a ＂spectral configuration of the fragments of the real＂. In this spectral configuration, fragments of social reality and historical facts are deployed to construct fictional scenes where the process of subjectivation and the ethical dimensions within the process can be explored. In the final part, I analyze Coffee as an exemplary play in which Bond configures the fragments of the real by integrating a series of ethically extreme decision-making moments that not only evoke the Holocaust but also demonstrate different facets of the subject's ethical potential. Through the suspension of the identity logic of instrumental reason and manifestation of the subject's desire for the ethically real, Bond's later dramaturgy aims to invite spectators to reflection on how humanity and justice can be defined.

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