再思劇場性與操演性：亞陶與歐蘭的身體想像

Abstract

摘要 本論文以比較方法研究法國藝術家亞陶與歐蘭的劇場語彙、身體表演、及觀看關係。除點出兩人作品中相似的主題，也將強調其藝術手法及社會影響力的相異之處。第一章將闡述德希達所言之古典劇場性的症狀，並以柏拉圖的洞穴寓言、紀．德博的景觀批判、及菲蘿的可逆之律為例證。其後，將引用塞穆爾．韋伯緣自德西達觀點所定義的劇場性，分析亞陶與歐蘭景觀暴力的誘惑與虛擬的風險。 第二章將聚焦於兩位藝術家的身體表演。透過巴特勒提出的操演性之理論，本章將分析他們為何及如何重新詮釋被規範論述性/別化與階層化的身體，而進一步提出人/非人的另類表演美學。關於巴特勒在劇場性論述上的疑慮，他們的例證或可提供新的思考方向。第三章將勾勒亞陶與歐蘭創作背景的歷史脈絡，檢視現代性與後現代性境況對兩人藝術生產的影響。視覺娛樂的發展對藝術生產帶來優勢也帶來衝擊，而兩人的觀看理論與實際的觀眾互動也反映社會中視覺範型與藝術功能的改變。本章最後將以洪席耶「解放的觀眾」為引，再探觀者被動性的議題，並反思個人主義式的美學何以能為德博擔憂的自閉現象開啟新機。 由一、二章的創作意圖至第三章的觀眾參與，本論文將透過不同角度檢視兩人的理論與實務，並釐清在表演藝術的交流中，不同參與端的投入及得失。 關鍵詞：亞陶、歐蘭、景觀、劇場性 、虛擬性、操演性 、觀看關係

English Abstract The thesis adopts a comparative approach to investigate the theatrical expressions, bodily performances, and spectatorship of the two French artists, Artaud and Orlan. Apart from their similar concerns, I will also foreground their disparities in methods and culminated consequences. The opening chapter will pursue Derrida’s problematic of the symptoms of classical theatricality, which will be illustrated by Plato’s cave metaphor, Guy Debord’s critique of the spectacle, and Josette Feral’s law of reversibility. Afterwards, I will draw on Samuel Weber’s deconstructive definition to address the seductiveness and virtual risk of Artaud’s and Orlan’s theaters. The second chapter turns to their bodily performance. In the light of Judith Butler’s theory of performativity, I intend to underscore why and how they re-signify the body conditioned by the sexual differentiation and hierarchization of normative discourses, proceeding to offer alternative performances bordering on the human and the non-human. Regarding Butler’s more ambiguous accounts about theatricality, their practices may also provide some new ways of thinking. The third chapter will contextualize Artaud’s and Orlan’s creations in the social conditions of modernity and postmodernity. The growth of visual entertainments engenders niches as well as crises for their artistic productions. Observably, their ideas about spectatorship and their actual audience participation also reflect the changes in visual regimes and functions of arts. Finally, I will use Jacques Ranciere’s “the emancipated spectator” to revisit the problem of spectatorial passivity and to reflect on how his individualist aesthetics can shed new light on Debord’s universal autism. Evolving from artistic intentions in the first two chapters to audience participation in the third, this thesis will examine their theories and practices from different perspectives, with a view to clarifying the investments of different parties in the artistic communication of performances. Keywords: Artaud, Orlan, spectacle, theatricality, virtuality, performativity, spectatorship