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臺灣京崑戲曲小劇場研究(2004-2011) / Chinese Opera Little Theatre in Taiwan:the study of Beijing Opera and Kunqu works (since 2004 to 2011)呂佳蓉 Unknown Date (has links)
戲曲小劇場首見於中國大陸,是一種新興的表演型態,在以戲曲為創作主體的前提下,進行顛覆傳統、具實驗性質的小劇場製作。臺灣自2004年開始出現戲曲小劇場作品,至2011年已經累積了許多具代表性的劇目,戲曲界、劇場界人才亦多有投入,對於戲曲現代化後的跨界嘗試而言,這些創作軌跡十分珍貴,然而除了部分演出時的劇評與編導自述,關於臺灣戲曲小劇場的研究並不多,有些作品甚至演過後即湮沒不聞,殊為可惜。本論文試圖將臺灣戲曲小劇場的成因、相關人員的創作過程,以及作品所展現的藝術特質,整理出一條可供尋繹的脈絡,盡可能忠實呈現這個臺灣劇場的特殊風景。
由於京劇、崑曲本身的程式牢固,在創作時能明確看出其對傳統的反叛,故本論文以京劇、崑曲小劇場為對象,採訪四個創作團隊,記錄它們的組織結構與工作歷程,並詳細分析14部作品的內容特色,歸納其在表演形式上的創發,以及對戲曲本質的破與立,期能為這些作品留下紀錄,為臺灣戲曲史添上新章。
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將社區劇場視為另類傳播媒介之研究:以民心劇場為例 / Regard community theatre as a alternative media林福岳, Lin, Fu Yueh Unknown Date (has links)
@ 「社區發展」(community development )一詞,最先是由聯合國所
出的,其原始意義為:「一種經由全區人民積極參加與充分發揮其創造
量,以促進經濟、社會進步情況的過程。」(United Nations,1955 )C
但一般的社區發展,多半是以科層組織為基本架構來推行,雖然較具效v
,但往往也流於繁複或保守。部分倡導傳播「文化中心論」(culture-
entered theory)的學者建議以經驗共享、創造個人意義、建立社區價
□茖□N科層組織的運作。在此情況下,傳播媒介便負擔了促進資源、經
蟡甈y及共享的功能。@ 社區發展過程中所運用的傳播方式往往是多元的
,而且無論是其形式 B內容或功能,都和主流媒介有明顯的不同。社區劇
場是社區發展的一個Ф膚峖﹛A也有其特定的角色及功能。但台灣遲至一
九九二年三月才出現釧T定場所、建制人員的社區劇場──台北市民生社
區的「民心劇場」,洏x灣劇場運動在九○年代初產生了另一種新形態。
它除了有其文化的角漵M功能外,也附帶或隱合社區傳播的功能,因為劇
場在社會中具有促進為吨峆堨葹茪H與社會連帶關係的功能,因此似乎應
該更關切它在整個社|的傳播網路中所扮演的角色,及存在位置的意義。@
其次,我們亦可從「另類媒介」(alternative media),探討社區 @
場的意義。除了相對於主流媒介外,另類媒介還有幾個值得注意的特徵 A
例如:它們是社區行動和組織的使用工具,它們本身就是行動者,並期瘥
鈳迣y改變;另類媒介的設立便是要草根性的投入,故歡迎民眾參與;早
怢膃野蒆鶪]賦有使命,其目的在促成社會改革。就此觀點而言,社區劇
場是是透過表演藝術的形態來進行社會改革的幫炰梒插A由於表演藝術所
具有的凝聚力及感染力,使它們和所處的社區 c成一種動態的生態關係,
只要他們基於這幾個特徵運作,自然會在經驗嬤氶B意見交流、資訊傳佈
、意義建構等層面上扮演某種特定的角色。 @ 以國內現有的研究成果來
看,對於社區傳播的研究似乎少有人涉獵, t類媒介的研究也有待開發,
而社區劇場是九二年才出現的文化現象,尚憐足鬲膍s者注目的焦點。但
上述三者之間,卻隱約有個脈絡可將其予以窸s,那便是:在社區內,透
過某種形式的媒介來進行社會連帶,可促使懋|變革。若將此一論述具體
化,便是:在社區內,透過社區劇場這種另□C介,可以促進社區發展。
故本研究試圖由這個角度出發,將社區劇場欓陞t類傳播媒介,探討其在
社區傳播中的角色、功能、及定位。
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<<星星的旅行>>---兒童劇劇本創作 / The journey of the stars陳逸璋 Unknown Date (has links)
論文分為四個章節。前言部分做創作動機的論述,接著針對流浪動物跟街友議題做文獻回顧,然後延伸到此次創作的構思以及劇本創作的文獻處理,最後則是劇本的呈現。
此次兒童劇本創作主要鎖定國小高年級小朋友及其以上的族群,以便對於社會議題有些認知,也較得以吸收相關的概念。文本內容部分,則針對街友和流浪動物議題做結合和脈絡式的劇情鋪陳,提供小朋友們從小建立對於社會議題的概念,從觀賞戲劇的趣味中,進一步達到教育劇場的效果。 / The main audience are upper grade elementary school children, who are aware of some social issues and this play could help them absorb the related concepts. The script mainly contains two subjects, homeless people and stray animals. This story makes children and adults learn these concepts. The aim of this play is to hope children can have fun from the theater and achieve the effect of educational theater.
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台北地區小劇場之文化生產場域分析(1986-1995)-從「收編論」談起 / Incorporation or Not: The Field-Analysis of Cultural Production on Taipei's Little Theatre (1986-1995)戴君芳, Tai, Chun-Fang Unknown Date (has links)
本論文嘗試從法國當代社會學家Pierre Bourdieu 的「文化生產場域」出發,期能為在地的小劇場研究提供一個全新的分析視野。鑑於「收編論」所引發的諸多爭議乃是小劇場當前迫切需要解決的問題,而問題癥結之所在又涉及小劇場的「反體制」定位,因此有必要重新檢視「小劇場運動」的興起與轉型。本文章節的安排如下:第一章為導論,主要在指出一般收編論辯的盲點,以及「場域」分析的適切性,作為本文的起始點。第二章則探討Bourdieu的文化生產場域,並提出本文的中心問題與研究架構。第三章重新檢視「小劇場運動」(1986-1989) 的萌發,以及藝術中介機制如何挪用以型塑神聖的光環,而成為象徵暴力的來源。第四章探討九0年代小劇場可能性空間的轉型,這個轉型主要遭受文化生產場域內部兩個層級化原則的挑戰,以及文化正當性危機。我們並以一個空間圖式分析當前戲劇場域的結構。最後第五章,將回到收編論的主戰場(1994人間劇展),並以此作為總結。由於媒體介入辦展的特性,因此討論的重心同時擴及劇展的媒體呈現與信念的生產。研究結果指出:
(一)小劇場運動與反對力量的結盟,不過是政治發生危機時所產生的一種「誤認」。其間被挪用的利益則是新知青自我表徵的階級習癖、前衛藝術工作者的秀異色彩、以及文化中介者作為挑戰舊有建制的象徵籌碼。小劇場作為另類媒介的期許並未真正落實。
(二)自「反體制」光環中退出的小劇場,在重新汲取文化正當性的同時,反而受制於權力場域的遊戲規則-即本土化的大浪潮與市場取向的專業化迷思,卻少有察覺。
(三)關於收編論的談法僅將焦點限於小劇場與國家機器之間,恐有問錯問題之嫌。政策的開放不代表內在創作環境的自由,小劇場商品化的趨勢以及向中心移動的復權慾望,才是真正的癥結所在。
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明代宗教戲曲研究林智莉 Unknown Date (has links)
本論文的研究動機是想要探討當戲曲與宗教遇合時,對戲曲本身的特質與發展產生什麼影響與變化。因此筆者在緒論討論了戲曲與宗教結合的兩個大前提,即「涵融性」與「同質性」。「涵融性」指以戲曲文本為載體涵融宗教理論而形成「宗教教義劇」;「同質性」指戲曲表演與儀式表演相互取代而形成「宗教儀式劇」。「宗教教義劇」按其教喻功能又可分為「度脫」、「因果報應」、「宗教諷喻」三類;「宗教儀式劇」按其儀式功能又可分為「慶賀」、「薦亡」、「驅邪」三類。各類依其內容與形式而發揮不同的目的與功能。
宗教戲曲因與宗教活動緊密結合,因此發展出特有的表演型態:包括演出場合的複合性質,演員與觀眾的特殊身份及互動模式,演出劇目的宗教、通俗、娛樂特質,面具、百戲、諧謔的藝術表演,及配合儀式進行的演出程序等,都呈現出有別於一般純戲曲演出的獨特風貌。
除了外在的儀式氛圍影響戲曲的表演型態外,宗教戲曲,尤其是宗教儀式劇文本本身就充滿儀式性的象徵符碼,這些象徵符碼表現在人物的形象、動作的展演、語言的陳述、及砌末的運用等各方面,大都與某一神靈的信仰、或某一儀式的進行有密切相關,故能藉此象徵性的儀式劇取代儀式的進行。
經由上述討論宗教劇本內涵、演出目的、演出型態、及文本象徵等戲曲與宗教的關係後,最後總結宗教對戲曲的影響層面包括:帶動戲曲文化普及與保存古老戲曲劇種、擴大戲曲題材內容、豐富戲曲表演藝術、影響戲曲演出型態、及影響地方腔調的產生與流播等。這些影響豐富了戲曲的生命力,也凸顯了宗教在戲曲發展史上的重要性。
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讀者劇場對台灣國小學童英語口語閱讀流暢度和學習態度之影響:個案研究 / The Influences of Readers Theater on a Young EFL Learner’s Oral Reading Fluency and Learning Attitudes: A Case Study陳逸涵, Chen, Yi Han Unknown Date (has links)
本個案研究旨在探討讀者劇場對一位參與英語補救教學的國小學童口語閱讀流暢度以及學習態度的影響。資料收集與分析主要採取質性之資料收集及分析法,以期對於讀者劇場教學之於國小學童口語閱讀流暢度和學習態度能有更深入的了解。參與本研究的學生為一位就讀於新北市公立國小五年級,從小一就開始參與補救教學的學童。研究期間自民國一百零三年三月至民國一百零三年五月,資料收集方式以課堂錄影觀察、教學日誌、半結構式訪談為主,以及每週閱讀流暢度檢測為輔。
研究結果顯示,在口語流暢度方面,無論是正確度、情緒和音量、斷句、流暢性以及速度等面向皆有所進步。另一方面,由於讀者劇場提供學生真實的表演機會,提高學生的自我效能感,給予學習者自主學習的機會,以及創造出合作學習的氛圍,學生在學習態度方面也因此有所提升。研究者根據這些發現,提出對讀者劇場應用於國小學童口語流暢度訓練和提升學習興趣的看法,及未來研究方向的建議,以期對英語教學能有更多建設性的研究貢獻。 / This case study attempts to investigate the influences of Readers Theater on an EFL young learner’s oral reading fluency and learning attitudes. To achieve the purpose of this study, qualitative methods were adopted to capture a holistic understanding of the young learner’s oral reading fluency development and changes of learning attitudes. The participant was a fifth grader who studied in a public elementary school in Taipei City. He has been in a remedial English class since first grade. Data was collected from March 2014 to May 2014. The video-recordings of classroom observation, the teacher’s journals, the student’s learning log, one semi-structured interview, and multi-fluency assessments were utilized as data for the analyses of the influences of Readers Theater on an EFL young learner’s oral reading fluency development and learning attitudes.
The results revealed that the participant improved his oral reading fluency and showed positive attitudinal changes while receiving the Readers Theater instruction. In terms of his oral reading fluency development, he first developed word recognition in accuracy; acquired prosodic reading ability gradually in expression and volume; learned to pause appropriately in phrasing; decreased hesitations while reading in smoothness; and increased reading speed in pacing. Moreover, his learning attitudes became positive, because RT provided authentic purposes for reading, increased his self-efficacy, and created an autonomous and cooperative learning atmosphere. Based on the findings, pedagogical implications and suggestions were recommended for future research. It is hoped that this thesis will provide some insights into the dynamics of Readers Theater instruction as well as EFL young learners’ oral reading fluency development and attitudinal changes of learning.
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官僚組織的劇場分析:以中華民國外交部為例 / A Dramaturgical Analysis of Bureaucratic Organizations: A Case Study of the Ministry of Foreign Affairs of the Republic of China陳玠蓁, Chen, Chieh Chen Unknown Date (has links)
關於外交官場陞遷競賽與外交官僚內外形象經營,本研究藉由Goffman(1959)的劇場理論,將陞遷當作是整場戲劇的主軸,由外交官僚們擔綱演出角色,在有民眾的公開場合展演前臺形象,在有長官的內部環境展演後臺形象。仿效Goffman類比戲劇分析劃分完各種戲劇元素後,本文進入討論外交官僚的印象管理,與以陞遷為主題的互動秩序,依序由正式陞遷制度規範、對外形象展演到官僚間互動潛規則來分層討論外交官場陞遷競賽。此外,在論及與上級的互動秩序時,加入了Scott(1990)討論權力不等的兩群體互動模式,以公開劇本的權力觀點來進一步討論基層外交官僚與高層長官間的互動。 / This research is based on Erving Goffman’s (1959) dramaturgical analytical approach to explore the promotion emulation of diplomats of the Republic of China and their image management strategies to the public as well as to the colleagues. With promotion being the main theme of the play and diplomats as performers, this research reasons by analogy with Goffman’s dramaturgical analysis to discuss how diplomats present themselves in the public sphere where citizens are watching and how they manage their image within their organization among colleagues.
After differentiating key elements of the play, the discussion moves onto the interactive manner within diplomatic bureaucratic organization shaped by promotion path, image management and tacit knowledge of interaction among colleagues with a particular focus to identify the promotion competition.
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跨文類網絡與媒體整合:以狄更斯及其作品為例 / Transgeneric Network and Media Hybridization: A Case Study of Charles Dickens and His Works陳徵蔚, Chen, Zheng wei Unknown Date (has links)
科技媒體看似創新,實際上卻不斷重拾基本人性與感官習慣,人類文明演進因而呈現永恆回歸的螺旋。十九世紀末的電影發明似乎新穎,但實際上卻是利用新技術來重現人們眼中的「自然」。電腦網絡彷彿是嶄新概念;然而虛擬空間卻源自對現實空間的複製、強化與變形。網絡文化日新月異,最後脫穎而出的卻是部落格、影像分享或播客。高度複雜的媒體演化,最後竟整合了各種傳統媒體的特色,並且重拾了最簡單的表達與溝通模式。媒體重建視聽感官,不斷貼近符合自然的環境。
文學創作的演進,也與媒體科技共同演化,而走向「回歸」之路。看似以線性發展的文類,其實不斷環繞著「口語回歸」的中心,以螺旋方式演進。在這樣的螺旋中,經典內容不斷被吸納進入新的媒體,形成文化演進的動力。從戲劇、詩詞到小說,似乎從口語推進至書寫與印刷;但二十世紀的廣播、電影與電視,乃至於電腦網絡,卻將文學重新帶回口語場域。這不禁讓人思考,創新並非進步的真正動力;反倒是新舊混雜、多元流動的媒體整合,才能在跨越文類疆界後,重新尋回最貼近人性的藝術表現形式。
類似的跨文類與媒體整合現象,可從狄更斯作品在不同媒體的流動中見到端倪。狄更斯不但是位傑出的小說家,同時也是出色的演員以及雜誌經營者。他那跨越文類的創作活力,使其作品於媒體演進的過程中,不斷被吸納更新。狄更斯的跨文類網絡提供了一個具體而微的模型,足以檢視媒體整合的歷史演進,以及科技重拾人類自然溝通模式的不同階段。本論文旨在研究狄更斯小說與媒體整合之間的微妙關係,藉此觀察媒體整合感官的進程。論文將分為四大部分。
首先,狄更斯深受劇場傳統影響,而他的小說也經常被改編成為維多利亞通俗劇,這反映了經典內容於書寫(小說)與口語(戲劇)間擺盪的流動性。在小說興起的時代,書寫作品經常被搬上舞台,回歸最直覺的視聽環境,而一般大眾不但熱衷劇場,同時也習慣以劇場經驗來閱讀小說。這種「書寫」與「口語」相互滲透的現象,證明了口語文化的強韌性,也反映出「口語回歸」的趨勢。
其次,狄更斯大眾說書的空前成功,不但說明了觀眾對於視聽表演的熱愛,也暗示著作者試圖從書寫形式外尋求更多創作可能的嘗試。更重要的是,這代表了作者從十九世紀書寫印刷技術回歸吟遊詩人傳統的潛在慾望。透過反覆刪編與練習,狄更斯無須像史詩吟唱者般口頭記頌,而得以藉文字幫助強化表演的變化性與靈活度。透過舞台符號的暗示,狄更斯同時又策略性維護了自身「文化菁英」的形象,在口語與書寫間,取得了策略性的平衡。
第三,狄更斯小說被改編成為電影的過程,顯示了文字被搬上螢幕時所產生的複雜文類互動與媒體間的交互滲透,而作者的敘述技法,則直接影響了許多電影先驅的運鏡與影像語言。攝影機實現了文字藝術所無法表達的事物,然而文字卻馳騁想像,啟發了電影場面調度的概念。本文將觀察狄更斯小說於十九世紀連載時,小說與插圖間的微妙關係,以及小說敘述中的視覺元素,檢視其對於二十世紀電影改編的影響。然而,文字述刺激想像;但電影卻直接將影像呈現於眼前。倘若文字的「留白」是意猶未盡的空間,那麼過於露骨的影像,卻可能剝奪想像的彈性,這是媒體創作必須省思的課題。
最後,本文將研究狄更斯於網際網絡上以不同形式出現的現象,並解讀其在媒體整合中所代表的意義。除提供狄更斯資源的學術網站外,網絡上的電子書與有聲書也同時可見於網絡資源中,甚至許多部落格也提供個人製作的狄更斯改編影片。邇來盛行的「播客」,將數位科技帶往了口語表達的方向,傳統的文字創作開始成為有聲媒體的重要內容,經典作品被數位化、有聲化、影像化,朝更加貼近人性以及自然溝通環境的方向發展。。
狄更斯小說的跨文類網絡提供了一個具體而微的跨媒體網絡模型,透過此模型,我們可以更清楚地觀察媒體整合與演進的歷程,並觀察其不斷回歸的螺懸。近年來文學研究日漸偏向科際整合、媒體整合的文化研究發展,然而也因此不免陷入了自我定義的危機。狄更斯的跨媒體現象足以提供文學研究者一個未來文學與文類發展的可能方向,並於此機械複製的時代,為文學的發展提出可能的解答。 / Media never really innovate; they actually restore the natural balance of human eyesight and earshot with the hybridization of various perceptive elements. For instance, cinema was regarded as an invention in the late nineteenth century, but it only reflected the natural environment people observed with their pre-wired biological perceptions. Cyberspace may appear innovative to us, yet the “Virtual Reality” is still the duplication, amplification or transformation of the nature. The Internet optimists had once dreamt about immense possibilities; the real application of blog, video sharing and podcast, however, merely hybridizes the existent audio and video media. The most sophisticated technologies always aim to approximate the natural mode of human perception, which makes the evolution of media more a spiral that constantly returns to the natural habits than a linear progress into the future.
Similarly, literature co-evolves with media to restore the most natural elements — the oral tradition, primary or secondary as it may be, is thus perennial in all literary genres. The evolution seems to advance in a linear pattern; it, nevertheless, revolves around the center of orality and progresses in an anthropotropic spiral, where the classic motifs in various works are sucked and hybridized. Although the canonical transition from drama, poetry to novel sacrifices the natural oral-aural environment to the stable storage in words, the twentieth-century literary representation on radio, film, television and the Internet eventually restore the classic contents in the audio-visual environment. Such a spiral invites us to speculate an essential question: the technological innovation may not be the only dynamic to propel the evolution; instead, it is the restoration of the human-friendly environment that validates the value of the new media.
Similar restoration and hybridization can also be observed in the transformation of Charles Dickens’s works into various genres. Dickens is not only an outstanding novelist but also a brilliant performer and an influential magazine entrepreneur. The vitality of his works transcends varieties of literary genres and is absorbed into innumerable modern media as the technology advances. Dickens’s transgeneric network provides a model to observe the transition of media hybridization when the modern technology restores the human natural communication. This dissertation aims to analyze the delicate relationship between Dickens’s novels and the continuous consolidation of human sensory perceptions in various media. My research will be divided into four main categories:
First, it will study Dickens’s indebtedness to the tradition of theater and the nineteenth-century melodramatic adaptation of his works to see how the contents of the classic literature oscillate between the pure written form (novels) and the residual of the oral performance (melodrama). The study of such a complicated relationship helps clarify Dickens’s transgeneric metamorphosis profoundly influenced by the social milieu and the mass entertainment in the Victorian period.
Second, the success of Dickens’s Public Readings not only epitomizes the audience’s craze for the audio-visual performance but also suggests the author’s endeavors to seek more creative possibilities besides the writing format. More importantly, this singular phenomenon represents the social collective unconsciousness, though repressed by the dominant culture of typography, to return to the ancient tradition of minstrels and bards. Through meticulous editing and intensive rehearsal, Dickens was able to perform with more improvisation and higher accuracy. Furthermore, with a series of symbols onstage, he strategically maintained his identity as a cultural elite and meanwhile enjoyed the ecstasy of orality. Dickens’s unique strategy to reach the equilibrium between orality and literacy will also be analyzed in the dissertation.
Third, several film and television adaptations of Dickens’s works will be examined to show the modern transition of his stories from the written genre to the audio-visual media. Dickens directly influenced many cinematic forerunners, and the film fulfills the imagination of the author, which could not be realized on the written page. Furthermore, the cooperation of the novelist and the illustrators in the Victorian magazine serialization will also be analyzed to see how the illustrations inspire the later design of movies on screen. However, the “un-represented” may more often than not be more pregnant with meanings than the explicit representation on screen. Therefore, it will be an important issue to re-consider the meaning of recollecting the natural environment in the literary creation.
The final analysis concentrates upon Dickens’s works in the cyberspace, monitoring his afterlife in this cutting-edge medium. Besides the websites that contain the scholarly resources, the old radio clips that recite Dickens’s works and the hypertext reproduction of the novels are all juxtaposed in the virtual space. Moreover, many personal blogs provide their own video adaptations, and the other productions such as the podcast become popular on the Internet. The reincarnation of Dickens’s works in the cyberspace represents the novelist’s unique status as the “cultural modem” that bridges the gaps separation the past, present and future. His works epitomize a clear lineage of the technological transition that endeavors to recollect the most instinctive pattern of human cognition.
The transformation of Dickens’s works into so many genres forms a transgeneric network that could help envision the hybridization of media in the literary history. When literature tends to include all media into its field of study, it sometimes undergoes a severe crisis of self-definition. Dickens’s model may provide some clues to envisage the future development of the literary genres in the age of mechanic reproduction.
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殘酷劇場中的戲劇詩:莎拉肯恩《4.48精神異常》之研究 / The dramatic poetry in the theatre of cruelty: a study of Sarah Kane’s 4.48 psychosis黃韻如, Huang, Yun Ju Unknown Date (has links)
莎拉肯恩《4.48精神異常》以破曉時分為題,描寫一名憂鬱成疾的女性於凌晨甦醒並決定以自殺終結生命的關鍵時刻。劇中呈現精神病患者承受心理治療之苦與面對社會正常化(social normalization)的暴力過程。肯恩早期的劇作強調具體暴力之呈現,有別於此,本劇大量使用影像,並以不連續的片段,文本化(textualize)社會的暴力壓迫。根據亞陶的殘酷劇場(Theatre of Cruelty),片段式語言搭配影像的使用,能有效幫助個體表達難以言喻之想法與被壓抑之情感。本論文旨在借用亞氏語言觀探討肯恩《4.48精神異常》中詩意語言的使用。肯恩以片段式結構(fragmentary structure)取代角色與情節,傳達精神病患者不見容於社會的破碎思緒,並在病患的語言中採用拼貼式影像(collaged images),企圖以視覺意象呈現其殘破不堪的心理狀態。本論文分成四章,分析《4.48精神異常》中的語言,將其視為肯恩對社會正常化所展現最終極抗議。首章說明肯恩生平、本劇簡介與評論及本論文理論架構。次章分析本劇的片段式結構,研究肯恩如何使用片段式的詩意文字描繪病人的孤立無援與自相矛盾等心理不適現象。第三章檢視本劇中視覺化(visual)與文字化(textual)的影像,其主要功能為幫助病人表述自我內心痛苦與對社會的控訴。論文末章總結指出亞氏觀點能幫助讀者解讀肯恩暴力劇場中的詩意語言。 / Titled with a crucial moment when a depressed woman awakes before dawn and decides to commit suicide, Sarah Kane’s 4.48 Psychosis presents the violent process of a psychotic patient suffering from psychiatric therapy and social normalization. Unlike Kane’s early plays that emphasize the presentation of physical violence, this play is characterized by an excessive use of images and is composed of discontinuous fragments that textualize the violent oppression from society. From Artaud’s theory of Theatre of Cruelty, the use of fragmentary language with images helps to convey one’s inexplicable thoughts and suppressed emotions. Artaud’s view on language sheds new light on the interpretation of Kane’s poetic language in 4.48 Psychosis. Without an explicit indication of characters and plot, Kane uses a fragmentary structure to narrate the patient’s broken thoughts, which are not allowed to be voiced in a normal society. Deprived of the ability of voicing, the psychotic patient strives to communicate with others by incorporating collaged images in her language to visualize the devastated state of her psychological mind. Consisting of four chapters, this thesis examines the language of 4.48 Psychosis and interprets this play as Kane’s ultimate form of protest against the violence of social normalization. Chapter One is an introduction to Kane’s life, the play, the critical opinions, and the theoretical framework. Chapter Two analyzes the fragmentary structure of this play and studies how Kane uses poetic fragments to illustrate the patient’s alienation, psychological discomfort, and self-contradiction. Chapter Three examines the visual and textual images of this play. Both kinds of images assist the patient in her narration of psychological pain and her accusation against society. Chapter Four is the conclusion of the thesis that sums up the Artaudian approach of interpreting Kane’s poetic language in her theatre of violence.
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名古屋市文化小劇場を通してみた地域小規模公立文化施設の管理運営の現状と課題白井, 大輔, SHIRAI, Daisuke, 清水, 裕之, SHIMIZU, Hiroyuki, 大月, 淳, OTSUKI, Atsushi 30 September 2004 (has links)
科研費報告書「地域の持続可能な舞台芸術創造環境を支える非営利型プラットフォーム形成に関する研究」(基盤研究(C)(2)課題番号:15601002,研究代表者:清水裕之)(http://hdl.handle.net/2237/11745)の4章資料(2)として使われている。
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