寫實主義戲劇中的敘述策略：易卜生之《娃娃之家》的個案研究

Abstract

根據後結構主義敘述學者布如克斯，結構（structure）與形構過程（structuration） 有所不同：前者屬靜態，呈固體狀；後者屬動態，呈流體狀。分析敘述結構時， 布如克斯指出，我們應該著重於結構「形變的動態過程」。本研究即以動體結構 的視角，分析《娃娃之家》的形構過程，並驗證本劇的敘事結構，不斷在繁衍、 變易、轉型與辯證。《娃娃之家》並不是從純然的通俗劇忽地轉換成純然的寫實 劇；正如所有的諧擬作品一樣，它是混雜體：從通俗劇變形至寫實劇，並於結尾 時完成了「驅魔」的儀式。但研究最後指出，儀式雖然完成，但「餘獨」仍在， 本劇終究無法跳脫當時父權主義對性別的分類思考模式。

According to Peter Brooks, a narratologist in the poststructuralist vein, the main difference between structure and structuration is that the former is seen to be rigid and static, while the latter focuses more on the fluid and active side of a narrative form. In analyzing a text, Brooks maintains, it is more fruitful to pay attention to the dynamic processes of narrative transformation. Taking cues from Brooks, this research paper intends to show that the structure of Ibsen’s first realistic play, A Doll’s House, is not as clear-cut as most scholars may have thought; it is in fact a hybrid in which the form transforms from melodrama into a full-fledged realism. To a great extent, the play goes through a process not unlike that of an exorcist ritual. The conclusion of the paper, however, emphasizes that, though it may have shed the theatrical trappings of melodrama, the parodic exorcism is incomplete since it still operates in the mode of patriarchal typologies concerning the sexes.