剧场及其复象
| 作 者： | (法) 阿铎. 著 | ||
| 出 版 社： | 浙江大学 | ||
内容简介 · · · · · ·
前言：剧场与文化剧场与瘟疫
舞台调度与形而上
炼金术剧场
论巴厘岛戏剧
东方戏剧与西方戏剧
弃绝杰作
剧场与残酷
残酷剧场(第一次宣言)
论残酷的书简
论语言的书简
残酷剧场(第二次宣言)
情感运动员
札记两则
瑟拉凡剧团
本書蒐集了阿鐸1931至1937年間發表有關劇場的論述、宣言及書信。它不是系統性的理論著述，也不是一本劇場教戰手冊，而是一個生命宣言，一個投向西方傳統文化的挑戰書。
阿鐸反對以模仿與再現為目的的寫實劇場，主張找回原始儀式和神話的生命力；他破除語言的獨霸，提倡一種直接敲打感官的舞台語言；他追求巫術、超感世界，撼動了西方理性和人本傳統。
阿鐸在此書中所揭櫫的劇場觀，啟發了無數當代最傑出的劇場工作者，是當代劇場重要文獻。
作者简介 · · · · · ·
作者簡介阿鐸（Antonin Artaud，1896-1948），當代劇場先知，是詩人、畫家、全方位的劇場人。曾演過電影、舞台劇，編寫劇本，創辦劇團，但都不成功。終生被精神病 症糾纏，他痛苦、挫敗的一生，創作不輟，作品全集共31冊，包括詩、書信和火力十足的劇場論文。他對劇場本質的深刻思考，影響了五十年來的劇場走向； 他痙攣的文體、聳動的類比、對純度的嚴峻要求和對神秘主義的嚮往，使他成為法國文學史上廣受推崇，卻不被了解的一則傳奇。
譯者簡介
劉俐，東海大學外文系畢業、巴黎第七大學博士、巴黎第三大學影劇學院研究。現任淡江大學法文系副教授。譯有電影美學、趙無極自畫像、攝影大師對話錄等。
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Artaud, Antonin (1896-1948). French poet, playwright, and theoretician of the theatre. Plagued by ill health and mental instability from an early age, he began writing poetry at school and joined Lugné-Poë's Théâtre de l'Œuvre as an actor in 1920. He subsequently established himself as a man of the theatre with the companies of Dullin and Pitoëff, though his extravagance sometimes caused conflict. He was also to do a great deal of acting for the cinema, notably as Marat in Gance's Napoléon. In 1924 he joined the Surrealist movement and in 1926 founded the short-lived but controversial Théâtre Alfred Jarry with Roger Vitrac.
A turning-point occurred for Artaud in 1931, when he witnessed Balinese dancers at the Colonial Exhibition in Paris. He published an article on the performance, which seemed to him to offer an alternative to decadent Western theatre. This was the first of a series of essays published in 1938 as Le Théâtre et son double. In ‘Le Théâtre et la peste’ and ‘Le Théâtre de la cruauté’ he expressed ideas which were to have a profound and lasting influence on the development of modern drama, arguing against the lifeless psychological, analytical content of the Western tradition and proclaiming the need for forms of theatre which inflicted an emotional, physiological contagion on the audience. He sought to establish that the essence of theatre was a type of delirium calling up the dark forces in humanity and nature. It is thus a challenge to civilization and ethics, relating to primitive levels of experience and operating on the stage through gesture, movement, lighting, colour, and music rather than through words.
In the mid-1930s Artaud struggled for money to establish a theatre where he could put his ideas into practice, and wrote a book on Heliogabalus, the mad Roman emperor, as well as outlines of plays to illustrate his method. In 1935 he managed to stage Les Cenci, based on the tragedy by Shelley, and full of blood, rape, incest, and murder; it was greeted with widespread incomprehension. None the less, his programme for a new type of theatre, revolutionizing everything from the architecture to the training of the actors, was to shape the work of a range of directors including Brook and Barrault. His life was dogged by mental illness and drug addiction; the anguish he sought to express through poetry and other writings made of him a modern visionary and a martyr to his art.
[David Walker]
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