「東方主義」的躁動？還是「法」力無邊？彼得．布魯克的《摩訶婆羅多》（1985）對印度文化遺產的改編、挪用、創新與濫用

The Restlessness of Orientalism? Or the Workings of Dharma? The Adaptation, Appropriation, Innovation, and Abuse of Indian Cultural Legacy in Peter Brook's 1985 production of The Mahabharata

蘇子中(Tsu-Chung Su)

布魯克 ； 《摩訶婆羅多》 ； 東方主義 ； 法 ； 文化轉譯 ； 印度特質 ； Peter Brook ； The Mahabharata ； orientalism ； dharma ； cultural translation ； Indianness

戲劇學刊

37期（2023 / 01 / 01）

99 - 134

繁體中文;英文

長久以來，彼得．布魯克是倍受讚譽的英國莎劇導演。1985年，布魯克的《摩訶婆羅多》轟動問世，這個製作引起一波波的激辯熱議，成了二十世紀後半葉最具爭議性的作品之一。它讓部分人激賞不已，也引發另一部分的人砲火猛烈地批評咒罵。布魯克的《摩訶婆羅多》常被指責與其說是個跨文化交流的案例，不如說是「大規模的劫掠或強姦，因為隱藏在寬容自由主義『面具』下的布魯克，是既專制又自私。」另一方面，這部作品獲得米什拉高度讚揚，將之譽為「本世紀的劇場奇觀，長達九小時純粹的劇場演出，在已知的《摩訶婆羅多》歷史記錄中無與倫比……一場將《摩訶婆羅多》永久地轉變為世界性文本的史詩級劇場盛事。」這兩個針鋒相對的陣營，一個從後殖民主義批判觀點出發，另一個從後結構主義或跨文化主義的多元交流互動觀點出發，對於布魯克的《摩訶婆羅多》舞台製作的看法顯然沒有太多的交集。本論文著重探討布魯克《摩訶婆羅多》的劇場版，試圖從以下不同的視角切入－包括東方主義的躁動、跨文化轉譯的觀點和「法」的概念－來重新檢討與評價布魯克的製作。筆者認為本製作涉及許多有關倫理、道德、宗教觀和文化霸權的問題，有待我等用嚴謹與合「法」的態度與角度作進一步的分析與批判。

Peter Brook has long been considered one of the most acclaimed Shakespearean directors. His world-renowned production of The Mahabharata has caused quite a stir when it was mounted in 1985 and become one of the most controversial works in the second half of the twentieth century. While winning critical acclaim from some critics and audiences, it was vehemently criticized by others. The production was branded not so much an instance of intercultural exchange as a case of "wholesale plunder or rape, for behind his 'mask' of tolerant liberalism Brook is authoritarian and self-serving." On the other hand, this production is highly praised by Vijay Mishra, calling it "arguably the theatrical spectacle of the century, nine hours of sheer theatre unsurpassed in the known history of the Mahabharata…a theatrical event of such epic proportions that it will change the Mahabharata-as-world-text forever." It is evident that the two opposing assessments, each derived from postcolonial and post-structural/intercultural stance respectively, do not share much common ground with respect to Brook's production of The Mahabharata. Focusing on exploring Brook's theatrical production of The Mahabharata, this paper attempts to re-examine and re-appraise it from the following diverse perspectives, namely the restlessness of orientalism, the viewpoint of cultural translation, and the concept of dharma. In this paper, I argue that the issue of cultural translation has to do with a variety of problems such as artistic intention, aesthetic interpretation, moral ethics, religious values, and cultural hegemony, and it is equally justifiable for us to conduct analyses and pass judgment on the above issues and problems from the angle of dharma.

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