亞陶與土方巽：從「造反有理」到「邁向神聖劇場」

Antonin Artaud and Hijikata Tatsumi: From ＂Rebel with a Cause＂ to ＂Towards a Holy Theatre＂

10.6257/JOTS.2015.16083

蘇子中(Tsu-Chung Su)

亞陶 ； 殘酷劇場 ； 土方巽 ； 舞踏 ； 神聖劇場 ； Antonin Artaud ； the theatre of cruelty ； Hijikata Tatsumi ； butoh the holy theatre

戲劇研究

16期（2015 / 07 / 01）

83 - 131

繁體中文

本論文試圖探討亞陶和土方巽之間的關聯，檢視並分析亞陶的思想與土方巽的美學觀之間的連結，標示出亞陶的殘酷劇場與土方巽的暗黑舞踏在身體觀念、表演理念與相關概念上的相似與對立之處。他們兩人造反有理的反骨精神與特立獨行的行事作風都堪稱一絕，樹立傳奇典範的同時，也造成深遠的影響。本論文可分為兩大部分，第一部分「造反有理：亞陶與土方巽」是就亞陶和土方巽的論述、創作方法與風格為主，檢視他們對舞蹈、劇場與表演所採取的觀點與態度，比較他們的地方感，對比他們常用的詩學意象與支離破碎的創作風格。第二部分「邁向神聖劇場：儀式、情感與靈性」則根據彼得．布魯克所提出的神聖劇場概念，討論他們身體概念的異同，探索亞陶和土方巽的洞見與作品中所蘊含的儀式性、精神性與相關特質。儘管亞陶的洞見和土方巽的舞踏之間有著諸多可類比或相似之處，但他們兩人各據山頭是獨一無二且無法相互化約的個體，且暗黑舞踏也絕非亞陶遺產的直接產物。所以本論文的分析與討論並非為亞陶的影響力下注解，或將論文設定為影響研究。論文將把焦點集中在亞陶與土方巽身上，至於他們兩人的遺產與對後世的影響，將不是本論文的論述範圍。

This paper attempts to explore the relationship between Antonin Artaud and Hijikata Tatsumi. Examining and analyzing the connection between Artaud's thinking and Hijikata's aesthetic viewpoint, it tries to highlight the similarities and differences between the theatre of cruelty proposed by Artaud and ankoku butoh initiated by Hijikata in terms of the notion of the body, the idea of performance, and related concepts. Both of them rebel with a cause and are non-conformists in professing and realizing their visions. Their eccentric ways of doing things not only make them legendary figures of their times but also exert long and lasting influence on future generations. This paper is divided into two parts. Part One, ＂Rebel with a Cause: Artaud and Hijikata,＂ focuses on discussing their discourses, creative methods and styles. While examining their perspectives and attitudes toward dance, theatre, and performance respectively, the first part compares and contrasts their sense of place and their creative uses of poetic images and disoriented fragments. Part Two, ＂Towards a Holy Theatre: Ritual, Affect, and Spirituality,＂ discusses the notion of the body and explores the ceremonial nature and spirituality embedded in their theories and practices. All the issues in the second part are examined within the framework of the holy theatre as defined by Peter Brook. In spite of the fact that there are a lot of resemblances between Artaud's and Hijikata's visions, they are two unique entities, which remain irreducible to each other. This paper is not intended to address the issue about Artaud's influence on Hijikata, nor is it meant to be an influence study.

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