| 摘要: | 二次大戰之後，新前衛運動開始在歐美等地展開，一直跟隨著美國腳步的台灣劇場界也深受其影響。其中，身為美國新前衛運動中重要成員之一的理查．謝喜納（Richard Schechner, 生於1934年）所提出的「表演理論」對於台灣劇場界的影響實是不容小覷，尤其是「環境劇場」（Environmental Theater）理論更已奠定了歷史價值，成為台灣現今各戲劇學院介紹及教授的課程。然而在介紹謝喜納及其表演理論的同時，卻鮮少看到有人反思，台灣對其概念及理論一面倒的趨向，是否應該有平衡的資訊，也就是說，在當今國際多元思想的變化下，是否有另一些聲音呢？台灣這樣的現象有利於學門本身和發展嗎？尤其是本文著重於，審視謝喜納由「拒絕審美」來出發而合成之「社會科學」。因此，本論文從劇場本質及歷史淵源出發，先從西方市民美學「審美界限」此一概念，分析出劇場的價值與精神所在，並且從培德．布爾格（Peter Bürger, 生於1929年）分析新前衛運動的歷史價值之視角，審視此運動的歷史定位，再從謝氏表演理論中的重要概念出發，由此討論謝喜納挑戰審美界限並以科際整合的社會科學來代替美學的走向。由於謝喜納意在顛覆歐洲長久以來的邏各斯傳統，並且也因為強調藝術與生活作結合的「觀眾」參與，挑戰市民美學從「觀看意識」到「觀看藝術」的建立，明顯在否定劇場長期以來的理性成就。
After World War II, the Neo-Avant-garde had been commenced around Europe and the United States. The theatre in Taiwan, following the footsteps of the tide of the United States, was affected deeply. Among the important members of that Neo-Avant-garde, the influence of ‘Performance Theory’, proposed by Richard Schechner (borned in 1934), should not be underestimated. In particular, his theory of ‘Environmental Theater’, which had established Schechner’s historical position, has become an essential course in every drama institute in Taiwan. However, there is little people notice the unbalance between Schechner’s Theory and other side information while endeavoring to tread behind it. In other words, under the various thoughts from all over the world, should there be some other views to maintain the equilibrium? Furthermore, is this phenomenon good for the development of the discipline?
The aim of the dissertation is to examine Schechner’s social science which begin with the concept of ‘Rejecting Aesthetics’, and combine ‘Social Sciences’ with many subjects. In order to reach the goal, this paper will be divided into three parts. First, the effort will be put in finding out the significance of the theatre and its spirit from the concept of the aesthetic boundary in traditional civil aesthetics. Second, examining the historical position of the ‘Neo-Avant-garde’ from the aspect which Peter Bürger(borned in 1929) evaluated the historical value of this movement will be discussed. Finally, the third part will discuss that Schechner challenged the aesthetic boundary replacing aesthetics with the Social Sciences integrated with many subjects.
As showing the intention to overthrow the ‘Logos’ tradition in Europe, emphasizing the participation of audience in order to combine art and life, and establishing the idea of ‘Spectator Art (Zuschaukunst, Bertolt Brecht)’ from ‘Spectator Consciousness’, Schechner had obviously rejected the achievement of rationalism in the theatre. |
