缺陷與否認：倒置反覆的依生結構應用於表演藝術創作—「花痴劇場」創作論述（2002-2005）

Abstract

摘要 本研究乃劇場創作者回顧自身經驗，自2002年以來對於媒體、科技與文化變異的思考，由於創作者選擇表演藝術作為表現形式，因此本研究將以探討開創二十世紀現代戲劇表演法的俄國導演史坦尼斯拉夫斯基(C. Stanislavski, 1863-1938)之相關理論為主軸，比較對照同時期德國哲學家胡賽爾(Edmund Husserl, 1859-1938)，在純粹現象學通論一書中對於「看」之邏輯考察，以及90年代以後探討人類知覺經驗結構的哲學家Christopher Peacocke(1950-)的理論，重新解釋史坦尼斯拉夫斯基表演體系中「看戲」的意涵，以及其中演員與觀眾的關係構成。研究發現史坦尼斯拉夫斯基認為「演員」是「角色」「真相的經驗」，同時「真相的經驗」與觀眾具有普遍性，共通性關係。 進而應用比較結果來檢驗90年代後期「真實電視」熱潮中的表演問題，以台灣的「許純美」現象為例。本研究第二、三章哲學理論的比較與推衍，乃為了建立第四章之後「花痴劇場」觀念論述基礎。「花痴劇場」創作之觀念係從「許純美」現象中，觀眾與演員之間「倒置又反覆」的共生關係構成。本文為創作者在價值觀多變的資訊時代試圖反思的實驗性論述。

Abstract The essay is an artistic phasis developed along personal experiences as an user, spectator among media, technology and cultural transition phenomenon since 2002. Concerning the theatrical form and history, it states from Stanislavski’s(1863-1938) “physical action” with assigning both to “logical consideration” of “seeing” in General introduction to pure phenomenology by Edmund Husserl(1859-1938), and the “non-conceptual contents” within human perception experience structure by Christopher Peacocke(1950-), this essay reinterprets a structural relation between actor and spectator and an idea on “watching the show” in Stanislavski system. In conclusion, “‘Actor’ is the ‘truth experience’ of ‘character’”, while ‘truth experience’ promises generalization and similarity for spectator. Furthermore, the essay applies such comparison to the hit phenomenon-- “Reality TV/Factual TV” since the late 90’s, and maps such specification to its synonym in Taiwanese popular culture-- “Syu, Chun Mei Phenomenon”. The comparative inference from chapter 2 to 3 grounds artistic concept along with the monologue stage performance entitled as “Theater of Nymphomaniac” in later chapter. In conclusion, it argues a possible method on application of “epanodos” symbiosis between theatrical actor and spectator in certain aesthetic concerns.