Self-reflexivity in the Mirror of Theater: Metatheater in Five English Renaissance Plays

[[abstract]]This study explores the theatrical self-reflexivity in five English Renaissance plays in terms of metatheatrical critical perspective advocated by Lionel Abel, James L. Calderwood, Richard Hornby, and Judd D. Hubert, to name just a few. Though overwhelmed by the mimetic mission, some English Renaissance dramatic works endeavor to struggle against this bondage, and turn to themselves instead. They display unflagging excavation and disclosure of the dramatic art itself. Their self-conscious exploration of the nature and function of dramatic art gives us a chance to reconsider the dramatic medium. The plays I discuss in detail are Christopher Marlowe’s Doctor Faustus, William Shakespeare’s A Midsummer Night’s Dream, Othello and Hamlet, and The Revenger’s Tragedy. In addition, some relevant contemporary plays are brought in for further comparisons. This study organizes its discussion in each chapter in accordance with some of the most important metatheatrical topics: role-playing, playwright-character, inset play and audience perception. Chapter One begins with a summary of the Renaissance critical views toward dramatic art to set up the historical framework for the discussion. Next, a survey of the metatheatrical criticism beginning around the 1960s is given to supply a condensed overview of the critical effort in metatheater. The second chapter explores the significance of role-playing in Hamlet and The Revenger’s Tragedy. Hamlet and Vindice are especially prone to role-playing, adopting role after role to cheat others. By exposing the excessive disguises and calculating manipulation of these chameleon-like figures, dramatists make manifest the pretense of these characters, and lay bare the fiction of the theatrical illusion. By extension, the illusive nature or the theatricality of life is implied. Through these characters’ metatheatrical sensitivity, playwrights could bring forth the dialectics of drama and life, illusion and reality, seeming and being, acting and doing illustrated in the mechanism of role-playing. The third chapter portrays the type of playwright-characters who dramatize roles for themselves or for others, create mini-plays or inset playlets to deceive others, and improvise action or scenes with any available resources. They conduct their action like dramatists. Faustus and Othello are playwright-characters, who tend to cast themselves in different roles and endeavor to be the authors of their own fate. Mephostophilis and Iago, however, are somewhat different. They tend to manipulate their fellow characters with carefully wrought illusion. Chapter Four delves into the treasure of plays within. Like many other Renaissance plays, A Midsummer Night’s Dream and Hamlet play up the subject of theater and theatrical performance in their dramatic action with the mounting of inset plays. These plays within supply a very good opportunity for us to consider the nature of dramatic art, including the impersonation of the actor, the moral function of drama, and the analogy of theatrum mundi. The fifth chapter deals with the dramatic mechanism of audience perception: engagement and detachment. Asides and soliloquies are two common devices that playwrights use to engage their audience. In contrast, some devices, including the use of dramatic imagery, plot repetition and role-playing, are applied to encourage detachment for the benefit of increasing reflection on the meaning of the play. Finally, the predominance of self-reflexivity and self-consciousness in the drama I have examined highlights its self-analysis. Metatheatrical drama is a mirror that keeps reflecting itself and defines itself as a medium where illusion, imagination, reality and truth may meet and interact. In addition, it is a mirror through which we, as audience or readers, can see our gaze upon the theater and our reflection upon the theater─the return of the gaze.[[abstract]]本研究探討後設戲劇所呈現的自我反身性，部份英國文藝復興劇作企圖擺脫模擬論的侷限，多方挖掘、不斷探究戲劇藝術本身的性質與可能，開展出戲劇研究的其他空間。本論文採用亞伯（Lionel Abel）、凱德武（James L. Calderwood）、侯恩比（Richard Hornby）與修伯（Judd D. Hubert）等學者所提出的後設劇場批評觀點來閱讀下列五部劇作：馬羅（Christopher Marlowe）的《浮士德》（Doctor Faustus）、莎士比亞（William Shakespeare）的《仲夏夜之夢》（A Midsummer Night’s Dream）、《奧賽羅》（Othello）及《哈姆雷》（Hamlet）與《復仇者悲劇》（The Revenger’s Tragedy） ；亦將旁及同時期其他劇作，以便對相關議題有更完整的討論。本論文以議題為導向，討論的主題包括角色扮演（role-playing）、劇作家似的劇中人物（playwright-character）、戲中戲（inset play）、觀眾反應（audience perception）。 第一章介紹文藝復興時期對戲劇的看法與理論，並簡要描述一九六０年以降後設劇場評論的主要論點。 第二章探討《哈姆雷》與《復仇者悲劇》兩部作品中戲劇人物的角色扮演。他們有如變色龍般，不斷轉換角色或偽裝以欺騙對手，劇作家更藉此揭示戲劇人物的假裝與戲劇的幻相。 第三章剖析劇作家似的劇中人物，如梅斐士多佛立（Mephostophilis）、伊亞哥（Iago）等人。他們如同劇作家般，不但為自己也為他人塑造角色、設計戲中戲欺騙敵人、甚至就地取材即興演出。 第四章討論戲中戲。《哈姆雷》與《仲夏夜之夢》將戲劇演出與劇場藝術融入劇情當中，深入探究戲劇的各個層面，諸如演員的演出、戲劇的道德功能、人生與戲的關係。 第五章則研究觀眾看戲的心理：既投入又疏離。劇作家有時利用旁白或獨白讓觀眾認同劇中人物；有時又運用一些後設手法使觀眾抽離戲劇幻相，進而思考戲劇意涵。 後設劇場不斷的自我反省，透過自我反射（self-reflexivity）的手法，自我分析，舉起一面鏡子映照自我，界定戲劇作為虛幻、想像、現實與真實可以彼此相遇或產生糾葛的空間。它同時也映照出觀眾/讀者對戲劇的凝視與自我反思的神態，呈現了戲劇的回視（return of the gaze）

The Return of the Real: Ghosts, Skulls and Death in Early Modern English Tragedy

[[abstract]]若說英國早期現代悲劇對死亡議題有著近乎病態的著迷（morbid obsession）應不算過當，為了對此議題有較全面性的探討，計畫將分三年進行，第一年專攻拉岡心理分析理論的涉獵並著手整理英國早期現代時期文化、社會、宗教如何看待死亡與其相關概念，釐清當時對死亡的見解，作為後續戲劇文本分析之基礎。第二年專研莎士比亞的三部悲劇：《泰特斯安卓尼克》、《哈姆雷》、《馬克白》。第三年探討英國早期現代其他觸及死亡議題的戲劇如基德的《西班牙悲劇》、馬羅的《浮士德》、密德頓的《女人小心女人》、魏斯特的《白魔》，以及《復仇者悲劇》等劇為主要研究範圍。本計畫將援引拉岡的心理分析理論，尤其是他的真實層（the real）概念，深入探討這些戲劇所處理的死亡議題。葛林白（Stephen Greenblatt）與尼爾（Michael Neill）指出英國早期現代戲劇深刻的勾勒出當時宗教改革之後，隨著宗教上靈魂淨化儀式的廢除，死亡有著截然不同於改革之前的意涵。死者被生者所遺忘、被社會所背棄、更被宗教所壓抑，形成了一個無以名喻的黑洞。此時，劇場不斷且頻繁的在舞台上展演死亡之舞（dances of the death），或可視為對缺席的死者的一種文化回應，更是用以填補上述空缺的表徵。從心理分析的角度來看，劇場上的死亡透過鬼魂、骷髏頭等死亡意象不斷重返人間，象徵真實層的回訪（the return of the real）。因此本計畫將援引拉岡的心理分析理論，深入研究其中所觸及的相關議題，包括創傷（trauma）、壓抑的回訪（the return of the repression）、記憶與遺忘（remembrance and forgetting）、重複強迫症（repetition compulsion）與死亡驅力（death drive）等課題。本計畫將剖析舞台上各種死亡的搬演對死亡所做的文化意義之建構。劇作家透過戲劇呈現死亡的面貌，除了表達生命的侷限性（mortality）之外，更重要的是，以心理分析的角度而言，劇場以死亡的展演將遭受壓抑的慾望、情感、甚至罪惡以鬼魂迴盪人間的方式轉喻運作，使這些原本不該顯現的壓抑得以進入現實世界，這些被遺忘的殘餘可說是無意識（the unconscious）的浮現。易言之，陰魂不散的鬼魂或是表情冷竣的骷髏頭這些逸出理性規範的象徵可視為無意識論述（discourse of the unconscious）的表現手法，透露出劇中相關人物內心深層的慾望與創傷。[[abstract]]It is fair to say that early modern English tragedy displays a morbid obsession to the subject of death. To deal with this subject in full, this 3-year project plans to explore the concept of death in the early modern English cultural, social, and religious contexts with the theoretical framework of Lacanian psychoanalysis in the first year. For the second year, the project will focus on the subject of death inWilliam Shakespeare』s Titus Andronicus, Hamlet and Macbeth. This project will then move on to other early modern English tragedy in the third year, including Thomas Kyd』s The Spanish Tragedy, Christopher Marlowe』s Doctor Faustus, Thomas Middleton』s Women Beware Women, Cyril Tourneur』s The Revenger』s Tragedy, and JohnWebster』s The White Devil. Drawing on the Lacanian concept of the real, I examine the issue of death involved in the representation of ghosts, skulls, and the dead in these plays. Stephen Greenblatt and Michael Neil have both underscored the sudden change of the significance of death after Reformation.With the abolition of Purgatory and the dissolution of the chantries, easy communication with the dead is disrupted. The dead are forgotten, betrayed, or repressed. A void is thus produced. The dances of the death on the early modern stage are one of the cultural responses to the absence created by the period』s alienation from the dead. From a psychoanalytic perspective, the visits of the ghosts or skulls represent the return of the real, bringing to the fore the central issues of this project—trauma, the return of the repression, remembrance and forgetting, repetition compulsion, and death drive. This project will analyze how the early modern English theater constructs the cultural significance of death through ghosts or skulls. Besides highlighting the theme of human mortality, the stage brings to the surface the repressed desire, passion, or even guilt in the forms of ghosts, which are the surplus, or the unassimilated stuff. In a metonymic operation, the skulls are the hard core of the real

Madness and Desire: Subject and Subjectivity in Renaissance Drama

[[abstract]]本計畫擬以莎士比亞的《哈姆雷》、《李爾王》以及其他觸及瘋狂議題的相關文藝復興戲劇如基德的《西班牙悲劇》、班強生的《巴修羅米市集》，以及魏斯特的《瑪菲公爵夫人》等劇為主要研究範圍，援引拉岡的主體理論來探討這些戲劇透過瘋狂的議題來呈現英國文藝復興時期戲劇人物的主體性，藉以省視當時社會結構、政治體制、家庭制度等所代表的大對體（the Other）如何決定主體（subject）所在的位置。文藝復興舞台上的瘋子具有引人注目的發言能力，他們運用獨特的語言模式向所處社會發聲，本計畫藉由探討瘋狂人物與其週遭環境及他人的關係，深入探索人的內在慾望與主體性。戲劇的瘋狂人物象徵人內在心理結構的崩解，正好提供我們瞭解人們心靈結構與外在環境之間的糾葛與界線。瘋言瘋語是無意識（the unconscious）的開展，透過解析舞台上的瘋人囈語，我們得以一瞥戲劇人物隱而不現的深層慾望與壓抑。本研究將以拉岡的想像層（the imaginary）、真實層（the real）與符號層（the symbolic）三重結構論來解讀劇中人的心靈結構問題與所面臨的生存困境，並將瘋狂視為此三重結構塌陷所造成的結果。本計畫從拉岡心理分析理論的角度出發，利用學者對當時的瘋狂與精神療養院的研究觀點，將上述劇作放在歷史脈絡下，並與其他相關劇作參照，研究戲劇文本企圖勾勒的瘋狂樣貌，透視劇作家所形塑的戲劇世界中，瘋子與他們的瘋狂囈語如何穿透語言的枷鎖，顛覆理性至上的社會體制、解構理性的約束，讓我們發現受壓抑的深層慾望如何找到出口，盡情宣洩。這些擺脫理性枷鎖的瘋子更進一步呈現流動多樣的慾望，在封閉的理性之中，找尋自由。[[abstract]]This project discusses the theme of madness in some early modern plays, including William Shakespeare』s Hamlet and King Lear, Thomas Kyd』s The Spanish Tragedy, Ben Jonson』s Bartholomew Fair, and JohnWebster』s The Duchess of Malfi. Drawing on a Lacanian Psychoanalytic approach, I examine the issue of subjectivity as embodied in the mad characters in relation to the Other, which is often embodied in and operated through social structure, political order, and family system. Staged madmen/madwomen are spectacles themselves who address the world through their unique voices with idiosyncratic linguistic modes. From their interaction with people and surrounding environment, we could probe into their hidden desire and subjectivity. Mad characters in the plays give body to the collapse of men』s psychic structure. By examining these mad characters we may understand the entangled relation of psychic structure and the surrounding world. Madmen』s speech is a window to the discourse of the unconscious. Studies of mad speeches give us a chance to glance the concealed desire and repression in the mad characters. Drawing on Lacan』s triple structure of the imaginary, the real and the symbolic, this project will explore the psychic structure as represented in the mad characters. Thus the dilemma of existence will be discussed. It is suggested that madness is an inevitable consequence of the collapse of the triple structure. Placing these plays in the historical context of madness and mad houses in the Renaissance period, this research intends to further explore how these mad characters break open the bondage of reason and language. They unsettle the social structure, and deconstruct rational constraints. They freely express their repressed desire. They allow their multifarious desires to find unrestrained expressions, a freedom undreamt within a closed rational structure

Manipulation of Audience Perception: The Stagecraft of Thomas Middleton's City Comedy

[[abstract]]本計畫擬採用雅伯（Lionel Abel）、賴 特（Anne Righter）、伊根（Robert Egan）、 寇德武（James Calderwood）、侯恩比 （Richard Hornby）、胡伯（Judd D. Hubert） 等學者所提出的後設劇場（metatheater） 觀點探討密德頓（Thomas Middleton, 1580-1627）的城市喜劇《米迦勒節開庭期》 （Michaelmas Term, 1604-6）與《奇普賽貞 潔女》（A Chaste Maid in Cheapside, 1611-13）所採取的戲劇手法，包括進場 （entrance）、退場（exit）、旁白（aside）、 獨白（soliloquy）、戲中戲 （play-within-a-play）、偽裝（disguise）、 角色扮演（role-play）等劇場慣見手法對 觀眾看戲與戲劇意義建構的影響。 後設劇場強調戲劇作品的人為塑造 性，劇作家利用自我反身的手法，讓觀眾 注意戲劇本身的媒介，並藉此拓展戲劇與 人生、虛幻與真實、想像與現實不斷辯證 的糾葛。另外，本研究亦將援引梅克 （Maynard Mack）所提出的觀眾觀戲心理 的研究主張，劇作家讓觀眾時而投入 （engagement）、時而抽離（detachment） 戲劇幻相，增加戲劇詮釋的複雜性。郝華 （Jean Howard）仔細分析劇作家如何運用 上述各種戲劇手法，演奏出一場絕妙的戲 劇交響曲，亦為本研究提供了絕佳的分析 模式。 進場與退場看似簡單與理所當然，其 實不然。劇中人的進場與退場方式往往左 右著舞台上在場人物之間的權力關係，有 時甚而影響到觀眾的詮釋角度。例如《米 迦勒節開庭期》一劇的第二幕第三景，湯 瑪心（Thomasine）悄悄出現在舞台「上」 （entrance above）觀看丈夫闊莫多 （Quomodo）以近似金光黨的手法，讓初 到城市的年輕仕紳易立（Easy）以地契交 換不值錢的布匹。她「超越的」舞台位置 不但使她有如天上的神俯視凡間般的卓 越，她對受害者的同情、對丈夫的鄙視， 更直接影響觀眾對闊莫多的不齒。 旁白與獨白常使說話的劇中人直接與 觀眾建立緊密的連結（bond），建立伙伴般 的關係。但是弔詭的是：旁白與獨白跨越 2 戲劇與現實的界限，使劇中人跳脫戲劇世 界，直接對觀眾說話，鬆動戲劇幻相；同 時卻也讓觀眾更認同劇中人。 戲中戲也是劇作家常用來推展或延宕 劇情的手法，由於戲中戲與主戲之間的類 比關係，使得戲中戲的運用凸顯出戲劇的 自我反身性（self-reflexivity）。 本研究嘗試分析觀眾看戲的心理，劇 作家如何利用上述種種戲劇手法操控觀眾 的反應與詮釋角度，使觀眾時而入戲、時 而抽離戲劇幻相，不斷挑戰舞台幻境的界 限。[[abstract]]This study explores the stagecraft in Thomas Middleton’s two city comedies, Michaelmas Term (1604-6) and A Chaste Maid in Cheapside (1611-13), in terms of metatheatrtical critical perspective advocated by Lionel Abel, James L. Calderwood, Richard Hornby, and Judd D. Hubert, to name just a few. This project discusses some of the most common theatrical devices: entrance, exit, aside, soliloquy, play-within-a-play, disguise, and role-play. The purpose is to study the extent to which these devices may have on the fashioning of dramatic significance of the plays and the manipulation of audience perception. Critics of metatheater underscore the artificiality of dramatic works. They point out the self-reflexive devices adopted by playwrights, drawing our attention to the dramatic medium itself. They show us the entangled web of the drama to capture drama/life, illusion/truth, imagination/reality. This project also deals with the dramatic mechanism of audience perception proffered by Maynard Mack who argues that playwrights use some devices to maintain “detachment”in order to encourage the audience’s reflection of the meaning. On the other hand, playwrights may sometimes “engage”audience directly to foster identification with the character. As Jean Howard’s metaphor may indicate, by carefully examining the playwright’s “art of orchestration,”it is possible to excavate more complicated significance from the plays studied. On the first look, entrances and exits are simple and are usually taken for granted. But on a second look, we often find that they could have a decisive influence on the power relation among the characters involved. A good example is Thomasine’s secret entrance in Michaelmas Term. In 2.3, she enters on the upper stage (“Enter Thomasine above,”2.3.103sd) when Quomodo cheats Easy with a commodity scam. She stands above others in a position resembling a god. Thus, her sympathy towards the victim and her contempt towards her husband may have a strong impact on audience’s perception of the scene. An aside and a soliloquy are both devices to build a bond and a partnership between a character and his/her audience. But the paradox is: they disrupt the theatrical illusion by removing a character from the layer of theatrical illusion and projecting him/her to the layer of reality 3 from which the audience observes the play; they intensify the theatrical illusion by constructing a strong bond between a character and his/her audience. A play-within-a-play is a device that dramatists use to suspense or intensify the plot. It can instill a fuller insight into the interplay of illusion and reality, presenting two, sometimes even more, different planes of dramatic illusion. It mirrors the larger play in some details, bringing forward the self-reflexivity of a dramatic work. In sum, this study endeavors to analyze the psychology of audience perception. It tries to explore the extent to which a playwright manipulates his audience and its perception of the plays through a careful orchestration of these theatrical devices. Meanwhile, the playwright keeps challenging the limit of theatrical illusion, blurring the boundary of illusion and reality

約伯的受難與神的正義：約伯記的解構傾向研究

[[abstract]]The Book of Job is generally regarded as a demonstration of "the ways of God to man," with its seemingly prevailing concept of "piety for its own sake is true virtue and in the end is requited." The key concern for the Book of Job is the validity of the retribution law of "good begets good, evil begets evil." The said moral dogma seems to prevail at the end of the story. However, as we examine closer, we find such orthodox interpretation is pretty problematic. This study endeavors to disclose the tendency of self-deconstruction and indeterminacy of the moral dogma. Also, by exploring the cause and situation of Job's suffering, the significance of man's destiny and suffering will be discussed.[[abstract]]〈約伯記〉中約伯不畏上帝加諸之困苦磨難，堅守正道，終獲上帝獎賞。 「善有善報，惡有惡報」之因果律是否報應不爽，乃〈約伯記〉之重要關懷。故事結尾時，約伯終獲獎賞，而其友人則遭責罰，表面上看來，善惡因果報應不爽，惟此種傳統道德之詮釋觀點有其值得商榷之餘地。本研究試圖探討〈約伯記〉所呈現的善惡因果律之自我解構傾向與不確定性。另外，並藉由約伯的受難經歷來探索人的命運與苦難

Roaring Girls and Silent Women: Female Verbal Unruliness in Early Modern English Drama

[[abstract]]文藝復興時期，父權主義者利用行為 手冊、民謠、戲劇及神壇講道再三告誡女 性，女性必須服從、貞潔與沈默。女人將 此訓誡內化，並據以建構自我認知與性別 角色。父權主義者規範了單一、固定的女 性特質以確保男尊女卑的父權體制。然 而，戲劇中的「惡女」（unruly women）卻 大膽抗拒傳統性別思想。 本計畫擬以《馴悍記》、《咆哮女郎》、 《沈默女人》等劇中悍婦與咆哮女人的戲 劇人物類型探討文藝復興戲劇所呈現女性 語言反叛之意涵。她們正符合厭惡女人者 所想像的惡女形象。她們的語言不斷探測 性別的界限。劇作家透過這些惡女，對父 權主義者所建構的女人特質與地位提出質 疑。這些劇本就女性的語言與沈默、性別 政治、父權權威等議題提出討論。 藉由唯物女性主義（materialist feminism）的批評觀剖析英國文藝復興時 期的戲劇與社會歷史文件中父權意識對女 性言語無所不在的掌控，透露出男性意欲 掌控、駕馭女人的情結以及對女性言詞反 叛、不受約束的恐懼。父權主義者以維護 社會秩序為由，對違反規範的惡女施加頭 枷（bridle）、壓舌器（gag）、坐板凳浸水 （ducking）等懲罰，實則男性為了鞏固父 權優勢，祭出暴力，逼迫女人臣服。 女性被迫沈默是因：（一）嚴厲懲罰的 威脅（如頭枷與壓舌器），（二）女性受傳 統社會規範的制約，（三）語言交換的權力 運作，（四）男性權威人物的介入等。父權 主義者大力壓抑女性的聲音、剝奪她們的 發言權，正反映出這些女人的確威脅到父 權體制。她們不理傳統的訓誡，更不睬社 會規範，勇於追求獨立、創造自我，並將 女性特質從同質化的貞潔、沈默與順從擴 2 充至異質化的獨立、自主與反叛。她們的 聲音無疑鬆動了當時主宰社會思想之父權 意識的穩定性。[[abstract]]In early modern England, pamphlets, conduct manuals, ballads, plays, or sermons from the pulpits all exhort women to be obedient and submissive to their husbands and fathers. These injunctions are internalized to a great extent by women in their conception of themselves and their proper roles within a patriarchal framework. Women are controlled by the fixed cultural construction of feminine virtue in way to stabilize the position of male supremacy. Yet, a resistance to these fixed, subordinate ideas toward female obedience, chastity, and virtue can also be seen from the representations of unruly female characters. This study explores representations of female verbal unruliness through three character types—the shrew (scolding), the roaring girl (brawling), and the disobedient wife (dominating her husband)—in The Taming of the Shrew, The Roaring Girl, and Epicoene or The Silent Woman, along with relevant plays of Shakespeare and his contemporaries. These characters fit the misogynist images of women whose voices test the boundaries of gender identity. Through the voices of these unruly women characters, playwrights test the assumptions of a long tradition of patriarchy on the nature and status of women. These plays are deeply engaged with questions of speech, gender, and authority, by presenting women’s speech and silence in relation to male authority. Employing a materialist feminist approach, I draw on early modern English plays and social history to show the patriarchal obsession in the control of female speeches and its fear of female verbal unruliness. I would like to focus on the horrifying controls placed on women’s transgressive tongues, which are reflected in the uses of bridles and gags, and cucking stools in disciplining convicted shrews, scolds, and disobedient wives, in the hope to excavate the implications of such male obsession and fear. These rituals of punishment are often adopted under the pretext of communal solidarity. But such violence almost always exposes the underlying self-interest for the patriarchal males who only exploit females. Factors, contributing to the silencing of women characters, are the impositions (real or threatening) of correcting measures (bridles and gags), the norms that govern women’s speech in social contexts, the dynamics of power in speaking situations, or the interference of a male figure of authority. The oppressive silencing of women’s voices suggests that Renaissance women are conceived to constitute a real threat to the patriarchal status quo. Disregarding the traditional injunctions for women to be chaste, silent, and obedient, these unruly female characters practice independent self-fashioning, disrupt rigid social conventions, or defy their male superiors. 3 They are seldom mute, silent, or quiet. They expand the spectrum of femininity to incorporate heterogeneous elements of female independence, autonomy, and unruliness. Their voices will no doubt catalyze fissures in the dominant ideology

The Revenger Tragedy and Revenge Tragedy

[[abstract]]《復仇者悲劇》（The Revenger’s Tragedy）一劇富含後設劇場（metatheater） 色彩，但是因為該劇的作者爭議一直懸而 未決，相關學者的研究重點皆著重於解決 作者屬誰的問題。近來，學者逐漸走出作 者論爭的泥沼，開始探討該劇的道德觀與 反諷的運用。本計畫擬從後設劇場的角度 切入，更進一步檢視該劇刻劃主角范迪奇 （Vindice）為未婚妻與父親復仇的過程， 所涉及私仇私了的道德爭議、公爵家族手 足相殘的權力鬥爭、復仇者腐化墮落的蛻 變等主題。 首先，此劇大量採用傳統復仇劇 （revenge tragedy）的表現手法與象徵，諸 如骷髏頭、假面舞劇（masque）、偽裝、 屍體、血跡斑斑的兇刀，但是這些復仇劇 中制式化的表現手法在本劇中常以有別於 傳統的模式出現，一方面增加論者強調的 反諷效果，另一方面更彰顯出本劇對復仇 劇此一文類的省思。 范迪奇一角更是貫穿本劇的靈魂人 物，充滿後設劇場的色彩，他與哈姆雷特 一樣，時常跳脫劇中角色，遊走於戲裡戲 外，時而嘲諷劇中人物，時而抒發道德說 教。本劇以范迪奇獨白開場、死亡演說終 結，凸顯出范迪奇在本劇中猶如導演、劇 作家的特殊地位，隨時隨地操控著周遭的 人、事、物。劇作家透過細微的後設劇場 手法，讓觀眾意識到范迪奇在復仇過程 中，從正義的代言人逐漸腐化成為傲慢、 狂妄的殺人魔而不自覺，從而反省復仇劇 血債血還的不當。 本計畫擬探討此劇高度風格化的編劇 手法、偽裝、角色扮演、旁白的運用、多 重復仇情節的排比與複製、假面舞劇（作 為一種劇中劇）的意涵等相關後設劇場議 題，這些手法刻意強調本劇的情節安排， 以凸顯出劇作本身的人為塑造成份，雖然 復仇劇一向著重情節安排，但是本劇與《西 班牙悲劇》或《哈姆雷特》不同，此劇刻 意強調情節的人為安排，並不斷提醒觀眾 劇情的發展愈趨複雜，由此觀之，本劇不 但沈溺於劇情的安排，更以情節操控為 樂。另外，本劇多重的復仇情節可說已超 過正常的劇情發展，使得本劇的自我嘲諷 性表露無遺。[[abstract]]The Revenger’s Tragedy has abundant metatheatrical elements. The authorship controversy has long been a major focal point of critical concern. But, recently, critics begin to comment on the play’s thematic aspects, such as its moral stance and uses of irony. This project intends to analyze the play from a metatheatrical perspective, examining the various issues involved in the process of Vindice’s revenge, including the moral issue of private justice, the murdering power struggle in the Duke’s family, and the deterioration and transformation of the revenger. The play adopts many conventional symbols and techniques common in revenge tragedy, such as the use of skull, masques, disguise, corpse, and blood-stained sword. But these seemingly formulaic and conventional devices are often used in a self-reflexive and subversive way. On the one hand, the effect of irony is enhanced. On 2 the other, the play’s self-reflexive impulse indicates its reflection on the genre of revenge tragedy itself. Like Hamlet, Vindice is also a role full of metatheatrical impulse, often stepping out of his dramatic role and crossing the boundary between the play world and the real world. He aligns himself with the audience, observing and commenting on his fellow characters. He also delivers moral lectures to the characters and the audience. The play opens with Vindice’s soliloquy, and ends with his dying speech, defining his unique position in the play and setting up a metatheatrical pattern in which Vindice, like a director and playwright, operates in every level. He manipulates his fellow characters and the dramatic action in his pursuit of revenge. Through careful metatheatrical design, the play delineates the gradual transformation of Vindice, from a seeker of justice to a cold-blooded killer. In this way, the play reflects upon the inadequacy of private justice. This project would like to explore following metatheatrical issues, including the play’s highly stylized dramaturgical choreography, disguise, role-playing, asides, multiple repetition and imitation of revenge plots, and masque (as a play-within-a-play). These devices draw our attention to the play’s plotting, exposing the play’s artificiality, its status as an artifact. Though many revenge tragedies, like Hamlet or The Spanish Tragedy, revolve around plotting, The Revenger’s Tragedy is different from them in that it is deliberately self-conscious about its plotting, and draws an audience’s attention to its more and more complicated plotting. In this most important sense, it indulges, and delights, in artificiality. Also, the multiple revenge plots are so excessive that they highlight the play’s tendency toward self-imitation and self-parody

Popular Culture, Visual Culture, Modernity--- Laurence Olivier’s and Orson Welles’s Shakespearean Films

[[abstract]]流行文化、視覺文化與現代性：勞倫斯‧奧立佛與歐森‧威爾斯的莎劇電影本研究計畫以二年為期，擬從流行文化、視覺文化與現代性的理論角度探討勞倫斯‧奧立佛與歐森‧威爾斯兩位導演的莎劇電影：第一年計畫以奧立佛的《亨利五世》（1944）、《哈姆雷》（1948）、《理查三世》（1955）為主，第二年則以威爾斯執導的莎劇電影《馬克白》（1946, 1948）、《奧賽羅》（1952）、《午夜鐘聲》（1965, 1967）為研究範圍。莎劇電影研究牽涉到三種領域的跨界：文學、劇場與電影。莎劇電影與莎劇舞台演出或莎劇文本究竟有什麼樣的關係？剛納（Lawrence Guntner）認為，莎劇電影研究除了要從戲劇文本的角度思考外，還要從電影符碼（film codes）、視覺影像修辭比喻（visual tropes and conceits）的角度，探索導演如何運用鏡頭角度、攝影機的移動、焦距、燈光、蒙太奇手法、音樂等，將意義傳達給觀眾。奧立佛與威爾斯兩位優秀的導演，各以其獨有的電影手法，具現電影導演做為作者（auteur）的理念，對莎劇做了特有的詮釋。本計畫擬從下列四個議題出發，（一）從劇場到電影：劇場經驗對兩位導演所拍攝的電影有何種影響，是否造成他們特別偏好某些電影語法或技巧。（二）莎劇電影與流行文化：莎劇電影將莎劇的文字影像化，讓莎劇進入流行文化當中，成為流行文化中的元素。另外，為使莎劇與現代生活的脈動接軌，在莎劇電影注入流行文化元素似乎勢所難免。（三）莎劇電影與視覺文化：導演藉由電影語言創作，透過鏡頭影像訴說故事，觀眾在觀賞影片過程中，也學習「看」的方法、內容。「看」什麼？怎麼「看」？觀眾可以被動觀賞，接受意義，也可以主動觀看，建構意義。（四）莎劇電影與現代性：現代性能夠勾勒出現代人歷經兩次世界大戰之後的生活經驗，孤獨、疏離、偏執、驚慌、背叛、創痛、焦慮、失落，這些也正是兩位導演所拍攝的幾部莎劇電影的中心主題。總言之，本研究計畫以歷來中外有關奧立佛與威爾斯兩位導演的莎劇電影研究為基礎，繼續朝著相關莎劇電影研究的深化討論前進，透過上述的幾個理論論述方向，開展莎劇電影文本的意義與詮釋。[[abstract]]Popular Culture, Visual Culture, Modernity: Laurence Olivier’s and Orson Welles’s Shakespearean Films This two-year research project aims at exploring Laurence Olivier’s and OrsonWelles’s Shakespearean films in light of popular culture, visual culture, and modernity. The research subjects for each year are: (1) Laurence Olivier and his Shakespearean films, including Henry V (1944), Hamlet (1948), and Richard III (1955); (2) OrsonWelles and his Shakespearean films, including Macbeth (1946, 1948), Othello (1952), and Chimes at Midnight (1965, 1967). Shakespearean films involve boundary crossing among literature, theater, and cinema. In this context, what is the relationship among a Shakespearean film, a dramatic text, and a theatrical production? Lawrence Guntner maintains that Shakespearean film study needs to take into account a director’s film codes, visual tropes and conceits, such as camera angles, camera movements, focus, light, montage, music, in delivering meanings to the audience. Outstanding directors as they are, Olivier andWelles both interpret Shakespeare in their unique ways. They are truly the “auteurs”of their Shakespearean films. There are four theoretical directions for this project. First, from theater to cinema, it would be interesting to investigate the influence of both directors’experiences in theater on their cinematic language. Secondly, Shakespearean films and popular culture. A Shakespearean film transforms dramatic language into images, thereby bringing Shakespeare into popular culture and making Shakespeare a part of it. To bridge Shakespeare plays to modern life, Shakespearean films no doubt need to bring elements of popular culture into themselves. Thirdly, Shakespearean films and visual culture. A director creates a work in cinematic language, and tells a story in images. Audience, in watching a film, need to learn what and how to look. They can be passive, receiving whatever meanings that are given to them. Or they can be active, constructing meanings on their own. Fourthly, Shakespearean films and modernity. Modernity is a very appropriate mode of perception related to modern post-war experiences. Loneliness, alienation, paranoid, shock, betrayal, trauma, anxiety, loss—all these are closely related to modernity and are the central thematic concerns for the Shakespearean films this project covers. Taking into account previous studies on Olivier’s andWelles’s Shakespearean films, this research project endeavors to open up interpretation possibilities and to facilitate critical dialogues