论赖声川《如梦之梦》的剧场性特征
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摘要
赖声川的八小时史诗剧作《如梦之梦》是一部典型的充满剧场性特征的作品。首先,八小时与环形舞台的时空设置赋予该剧独特的观演形式;其次,远距离的叙述视角以及叙述与表演融为一体并灵活转换的手法制造了间离性效果,凸显了戏剧的表演本质;再者,对于佛教仪式行为的剧场性处理为观众制造了神圣的现场参与感。以上三个方面既有效充分地表达了剧作的内容主旨,又体现了赖声川对观演融合、与观众深层次沟通生命体验的剧场性追求。
Lai Shengchuan's A Dream Like A Dream is full of theatricality. Firstly, the eight-hour time span and the surrounded theatre promise unique presentation of the drama. Secondly, the long-distanced narrative perspective,combination and flexible conversion between the narration and the performance produces the alienation effects.Thirdly, the theatrical treatment of Buddhist rituals gives the audience sacred felling of participating in the drama. All these not only convey the theme of the drama effectively, but also shed light on Shengchuan's theatricality pursuit of the integration of the audience and performance.
Lai Shengchuan's A Dream Like A Dream is full of theatricality. Firstly, the eight-hour time span and the surrounded theatre promise unique presentation of the drama. Secondly, the long-distanced narrative perspective,combination and flexible conversion between the narration and the performance produces the alienation effects.Thirdly, the theatrical treatment of Buddhist rituals gives the audience sacred felling of participating in the drama. All these not only convey the theme of the drama effectively, but also shed light on Shengchuan's theatricality pursuit of the integration of the audience and performance.
引文
[1]张文诚.曼陀罗的生命旅行:赖声川《如梦之梦》的后设剧场表演[J].戏剧学刊,2007(5):43.
[2]赖声川.如梦之梦——赖声川的剧场史诗//如梦之梦[M].台北:远流出版公司,2001:14-15.
[3]赖声川.剧场//如梦之梦[M].台北:远流出版公司,2001:27.
[4]钟欣志,王序平.《如梦之梦》和剧场创作——赖声川访谈[J],戏剧学刊,2005(2):298.
[5]西奥多·W.哈特伦.剧场性与新戏剧[J].吴光耀,译.戏剧艺术,2005(5):33.
[6]索甲仁波切.西藏生死之书[M].郑振煌,译.北京:中国社会科学出版社,1999:242.
[7]顶果钦哲仁波切.觉醒的勇气[M].赖声川,译.高雄:雪谦文化出版社,2005:48-54.
(1)见赖声川《如梦之梦》,台北:远流出版事业股份有限公司,2001年。本文对于《如梦之梦》剧本的征引皆依此书,后文不一一注明。本文所论,也是依据此本。此后该剧在多场具体演出中与此本有一些细微的差异,特此说明。
[2]赖声川.如梦之梦——赖声川的剧场史诗//如梦之梦[M].台北:远流出版公司,2001:14-15.
[3]赖声川.剧场//如梦之梦[M].台北:远流出版公司,2001:27.
[4]钟欣志,王序平.《如梦之梦》和剧场创作——赖声川访谈[J],戏剧学刊,2005(2):298.
[5]西奥多·W.哈特伦.剧场性与新戏剧[J].吴光耀,译.戏剧艺术,2005(5):33.
[6]索甲仁波切.西藏生死之书[M].郑振煌,译.北京:中国社会科学出版社,1999:242.
[7]顶果钦哲仁波切.觉醒的勇气[M].赖声川,译.高雄:雪谦文化出版社,2005:48-54.
(1)见赖声川《如梦之梦》,台北:远流出版事业股份有限公司,2001年。本文对于《如梦之梦》剧本的征引皆依此书,后文不一一注明。本文所论,也是依据此本。此后该剧在多场具体演出中与此本有一些细微的差异,特此说明。