場面調度．表演事件－歐陸劇場表演分析的兩大取向及其侷限

Mise en scène．Performance Event--Approaches to Performance Analysis and their Limitations

10.6257/JOTS.202207_(30).139

林偉瑜(Wei-yu LIN)

表演分析 ； 事件 ； 場面調度 ； 踐行 ； 類型學 ； performance analysis ； event ； mise en scène ； performativity ； typology

戲劇研究

30期（2022 / 07 / 01）

139 - 187

繁體中文

當代劇場演出現象不僅傳統與現代樣態並立，混合跨界型態也日益增多，除了導致藝術邊界的模糊，亦生發愈來愈多踐行（performativity）性質的劇場表演。這些性質殊異但卻又有交集重疊的演出，我們該如何去欣賞、分析與辨識其屬性？基於此，了解歐陸劇場研究中的表演分析（performance analysis）領域及其論辯，應有助於我們辨識當今多元紛雜的演出現象。一九六零年代歐陸劇場研究發展以劇場符號學為主的表演分析理論與方法，經過半世紀，表演分析理論與方法隨表演現象不斷更新和多元化，經歷種種論辯，已成為歐陸劇場學術界重要研究區塊，並被視為是二十世紀以來劇場作為一獨立學科的成果之一，同時也是繼傳統戲劇文本分析之後，對劇場本體提出的理論與分析方法。雖然表演分析的眾多取徑吸收了來自不同領域的理論（如符號學、現象學、詮釋學、觀眾接受與傳播理論），但皆經過劇場表演分析理論家提煉、釐清、重新系統化、再理論化、並賦予特定的劇場術語，使這些理論與劇場是可以直接對接。本文論旨除探討表演分析發展和理論脈絡，主要關切點將著力於表演分析領域理論中的兩大重要分析取向：場面調度（mise en scène）與表演／劇場事件（performance/theatrical event），前者關注對製作面／作品端的分析，後者傾向探討演出當下的表演者與觀眾之間的關係。在不同取向下，諸理論家對表演的類型學（typology）也有不同思考與界定，此有助於我們對於劇場表演本體結構文本的辨識，並在當代劇場表演類型的交疊、跨域、質變的複雜演出現象中，藉由對表演分析理論的探詢和釐清，提供分析者不同思路和取向，以作為分析表演的參考。此外，本文亦將析論表演分析的某些侷限，特別是對此一頗為歐洲中心之劇場理論資源，對亞洲劇場的適用性和缺陷提出思考。

Apart from the increasing phenomena of hybrid and cross-border arts collaboration, and the blurring of artistic genre boundaries in contemporary theatre performance, performativity-oriented performances have grown substantially in theater performances. Theatre performances no longer stay within the scope of drama and theatre. Here comes a difficulty: how do we attribute clear properties to theatrical/nontheatrical performances which are different and yet somehow overlapped? Theories and different perspectives of performance analysis might give clues. Around the 1960s, theatre studies in Europe developed theories and methods of performance analysis based on theater semiotics. With the emerging performance phenomena and influential American performance studies, its theories and methods have been updated and diversified, and formed one of the foundations of theater academia. Even though drawing on theories from outside the theatre world (such as semiotics, phenomenology, hermeneutics, audience reception and communication), they are resystematized, retheorized, and assigned specific theater terms by theatre theorists so that they can be connected with the field of theater and properly applied to performance. In addition to discussing the development and theoretical context of performance analysis, this paper aims at two analytical approaches in performance analysis: mise en scène and performance/theatrical event. The former focuses on the production side, while the latter tends to explore the relationship between the performer and the audience at the moment of the performance. It is worth noting that, under different perspectives, the theorists proposed typologies of performance which help to identify textual structures in both theatrical and non-theatrical performances, and are essential for analyzing performance. One needs to be aware, however, that performance analysis is a Western-centric theoretical resource developed for/from Western theatre tradition. Although Asian modern and contemporary theatres have been greatly influenced by Western theatre, Asian theatre traditions and aesthetics, fundamentally differed from the West. Performance analysis developed by the West thus is surely not sufficient for those influenced by or rooted in Asian traditional theatre concepts. Analytical strategies that integrate Western analytical theories and different, specific Asian aesthetics thus should be considered and further developed.

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1. 林偉瑜(2023)。一九五○年代以來三代導演的話劇中國化實踐之連續性與變遷－以焦菊隱、林兆華、李六乙為例。戲劇研究，32，81-129。