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題 名 | Rage on the Page, Roar on the Stage--Two "Docu-Plays" of the Feminist Playwright Caryl Churchill=劇本上的怒氣,舞臺上的吼聲--女性主義劇作家卡蘿.邱琪珥的兩部「歷史紀錄劇」 |
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作 者 | 黃裕惠; | 書刊名 | 人文社會學報. 世新大學 |
卷 期 | 1 1999.05[民88.05] |
頁 次 | 頁73-116 |
分類號 | 873.55 |
關鍵詞 | 卡蘿邱琪珥; 女劇作家; 醋咪湯姆; 聖光普照白金漢郡; 史詩劇場; Caryl Churchill; Woman dramatist; Vinegar Tom; Light shining in buckinghamshire; Epic theatre; |
語 文 | 英文(English) |
中文摘要 | 六零年代末,歐美社會改革運動在各國飆昇,劇作家既是推波助瀾的革命志士,亦是筆耕受益人。一九六八年英國劇本審查制度被迫取消,邊緣劇場自此蓬勃發展,新一代女劇作家從容走進長久男性獨霸的劇場。女性主義劇作家卡蘿.邱琪珥遂自廣播劇轉戰舞臺劇。 邱琪珥繼政治諷刺劇《地主們》(一九七二)大獲好評之後,乘勢寫了五齣戲,奠定其不墜地位及名聲。一九七六年,邱琪珥質疑「正史」,與魔鬼兵團劇團以工作坊型式合作寫成《醋咪湯姆》,自受誣陷女性的角度重新檢討十七世紀歐洲全面獵殺女巫事件。同年邱琪珥和合股劇團合作,以同樣方式寫成《聖光普照白金漢郡》,重寫十七世紀英國內戰內幕,借古諷今,挖掘貴族階級假民主之名而利用無產平民的真相,搬演「竊國者侯、竊鉤者誅」的鬧劇。此二劇的時間皆被拉入歷史,幕景安排、演員演替以及舞臺布景皆師法布雷希特的史詩劇場,企圖達到疏離效果、引發觀眾理性思維的觀劇習慣。 此二部劇本的寫成,打破導演與作家獨尊的創作慣例,邱琪珥與演員集體創作,由下而上,超越「歷史真相」的侷限,找到歷史詮釋的隙縫,偷渡被噤聲的革命女子入場上臺,「尋找女人自己的歷史」。無論形式或內容,此二劇皆發揮「一九六八年精神」,讓劇中女人尋找與歷史重新對話的機會。發出吼聲的劇中女子是邱琪珥經營「性別策略」的代言人,她們從各種階級、種族、與社會經濟地位的方位向主流喊話,要求階級利益既得者重寫歷史,以消解「正史」裡長久被消音的怒氣。本文試探討邱琪珥的這兩齣「歷史紀錄劇」的再現。 |
英文摘要 | At the end of the 1960s, political movements were at their height. The playwrights worked as revolutionists and took advantage of the result. In 1968, the censorship was abolished; thus fringe theaters increased rapidly. Women playwrights literally "invaded" into the domain long possessed by male playwrights. The feminist playwright Caryl Churchill who had been working on radio plays started writing stage plays soon after the change of law. Churchill's political play The Owners got recognition in 1972. Later in five years she wrote five plays and gained her status in playwriting. In 1976, Churchill tried to question the legitimacy and authority of the history written for the public. She wrote Vinegar Tom in cooperation with the Monstrous Regiment after a discussion with the actors and actresses. This play dealt with the notorious witch hunt in Europe during the 17th century from the viewpoints of the "witches" who were wrongly accused. Almost at the same time, Churchill cooperated with the Joint Stock Company and wrote Light Shining in Buckinghamshire. It retold the story of the English Civil War in the 1640s. This play satirized on the phenomenon that the upper class exploited the peasants by enforcing the so-called democracy which only benefited themselves. It also reproached a radical republicanism that people in power "hang a man for stealing, when [they themselves] have stolen from [their] brethren all land and creatures." Both plays were historicized, and both adopted the Brechtian dramaturgy, in order to alienate the audience and bring the audience "reason" instead of "emotion." The plays minimized the superiority of the playwright, and adopted the collaborative method in writing the plays. The writer and all the ctors/actresses found a "feminine" way to re-examine the alleged historical truth, which was long represented as a static and rigid text, and in which the revolutionist women were silenced. Both the plays cultivated the "spirit of 1968," with which the oppressed women could have a conversation with the past. These women long silenced in history from different classes, races and social economic statuses now called for a fair version of the "formal history" so that their rage could be smothered. They were created out of Churchill's bosom and brain to carry out her gender politics. This essay aims to discuss the representation of these two "docu-plays." |
本系統中英文摘要資訊取自各篇刊載內容。