高維泓臺灣大學:戲劇學研究所潘煇仁Pan, Hui-JenHui-JenPan2010-05-052018-05-292010-05-052018-05-292009U0001-1401200922343700http://ntur.lib.ntu.edu.tw//handle/246246/179072高行健的劇場實驗，都是為了尋找適合自己世界觀的表現方式，透過形式表達思想，因此其劇場美學跟哲學思想息息相關，研究其劇作必須從哲學與劇場兩方面同時下手。高行健的沒有主義與巴赫汀的狂歡理論，雖然表達方式不同，但兩者具相同思想：主張消解中心思想的意識形態、強調真實生活，在後現代一片虛無聲浪中指出一條道路。本論文藉由對高行健一手資料的再爬梳，發現其在戲劇與哲學歷史中的承繼關係，佐以巴赫汀的觀點，將兩者互相印證，解釋作者如何在戲劇實踐中反映個人思想，同時傳達狂歡節的精神。以高行健近期三個劇作《週末四重奏》、《八月雪》、《叩問死亡》為主要分析對象。Through his experiments in theatre, Gao Xingjian looks for a better approach to exhibit the human world. The theatre form, to Gao, is the expression to expose his personal thoughts. Thus, Gao’s theatrical esthetics cannot be separated from his philosophical thoughts. To study Gao’s plays means a research of both his theatre and philosophy. he Without-ism of Gao echoes Bakhtin’s carnival theory. Their different literal expressions embrace actually the same values: to dissolve the ideology of a unique centre, to emphasize the real life, and to try to indicate a way out from the noises of postmodern nihilism. his thesis is to analyze how Gao’s plays follow his precedent theatre and philosophy history. By reviewing Gao’s firsthand unpublished writings, I will examine how the playwright demonstrates his own thoughts through his theatre practice. I will also use Bakhtin’s philosophical observations as reference to Gao’s theory, in order to explain how the playwright conveys the carnival spirit in his works. Three later plays of Gao are my research objects: Weekends Quartet, Snow in August, and The Man Who Questions Death.目次論…………………………………………………………………………………1一章　沒有主義與狂歡理論……………………………………………………7　壹、沒有主義…………………………………………………………………8　貳、狂歡節……………………………………………………………………18　　　一、狂歡節歷史…………………………………………………………19　　　二、狂歡節特性…………………………………………………………20　　　三、狂歡化文學…………………………………………………………25　小結……………………………………………………………………………32二章　對高行健戲劇理論的再認識……………………………………………35　壹、戲劇性……………………………………………………………………36　　　一、過程…………………………………………………………………39　　　二、變化、發現與驚奇…………………………………………………41　　　三、對比、複調與多聲部………………………………………………42　貳、劇場性……………………………………………………………………44　　　一、假定性………………………………………………………………45　　　二、三重性與中性演員…………………………………………………47　　　三、你─我─他的主詞人稱代換：高行健式的人稱表演……………49　　　四、全能演員與全能戲劇………………………………………………52　　　五、時間與空間…………………………………………………………55　小結……………………………………………………………………………58三章　複調的人物、情境與形式：以《週末四重奏》為例…………………59　一、本事………………………………………………………………………61　二、你我他的人稱代換表演…………………………………………………64　三、複調人物…………………………………………………………………67　四、情境變化…………………………………………………………………72　五、複調的音樂形式…………………………………………………………76　小結……………………………………………………………………………78四章　狂歡節的劇場實踐：以《八月雪》演出為例…………………………81　一、本事………………………………………………………………………83　二、戲劇性……………………………………………………………………86　三、音樂………………………………………………………………………89　四、表演動作…………………………………………………………………90　五、場面調度…………………………………………………………………94　六、語言音響…………………………………………………………………97　小結……………………………………………………………………………101五章　加冕與脫冕：《叩問死亡》中的思想人物對話………………………103　一、本事………………………………………………………………………104　二、廣場語言…………………………………………………………………108　三、冒險時空…………………………………………………………………111　四、加冕脫冕…………………………………………………………………115　五、複調對話…………………………………………………………………117　六、雙重對比…………………………………………………………………122　小結……………………………………………………………………………126論…………………………………………………………………………………129考書目……………………………………………………………………………133application/pdf1565049 bytesapplication/pdfen-US高行健巴赫汀複調狂歡節戲劇理論Gao XingjianMikhail BakhtinPolyphonyCarnivalTheatre theoryhttp://ntur.lib.ntu.edu.tw/bitstream/246246/179072/1/ntu-98-R90129005-1.pdf