解析帳篷戲劇—從歐美、日本影響到「海筆子」的運作

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題名:	解析帳篷戲劇—從歐美、日本影響到「海筆子」的運作 Operating the Tent Theatre—the influence of Euro-American, Japanese on the work of “Haibizi” Troupe
作者:	許釋允 Hsu, Shih-Yun
貢獻者:	戲劇學系
關鍵詞:	西方傳統市民美學帳篷戲劇布萊希特櫻井大造劇場專業性 traditional civil aesthetics tent theatre Bertolt Brecht Daizou Sakurai theatre professionalism
日期:	2013
上傳時間:	2014-02-20 15:16:25 (UTC+8)
摘要:	「海筆子」常被歸類為民眾劇場，劇場思想與表演方式又常與布萊希特相比，但其與民眾劇場或政治劇場，如：布萊希特之劇場實務和理論，有何異同？帳篷戲劇為日本1960、1970年代「安保鬥爭」特殊的社會背景下發展出來的戲劇形式，但同時亦受到歐美前衛運動的影響，由於要了解歐美前衛運動必須先對其傳統市民美學有一定認知，才能夠清楚勾勒出帳篷戲劇受到的影響與發展的脈絡，也才能進一步分析「海筆子」。台灣目前針對「海筆子」的研究，尚未有人追溯至傳統市民美學來做探討，以致全盤接受日本視角下的西方戲劇觀點，但日本所認知的西方劇場或許與真正的傳統市民美學劇場有所歧異，因此本論文從傳統市民美學、民眾劇場、政治劇場到廿世紀的劇場實驗，綜觀西方的戲劇發展，再以橫切面的方式去探究同時代的戰後日本小劇場受到何種影響，進而發展出帳篷戲劇這樣的表演方式，最後再以「海筆子」的日籍團長櫻井大造，從日本到台灣的帳篷戲劇活動軌跡，解析「海筆子」的劇團運作。最後再以「海筆子」與布萊希特的戲劇理論相較，兩者雖都試圖改變戲劇的功能性，但不同於布萊希特堅持以專業性達成劇場觀、演本質的交流，「海筆子」的戲劇目標並不在於藝術層次，而是能夠獲得東亞區域「反資本」的共鳴。當戲劇不再以達到藝術為終極目標，「劇場」也只淪為一種實現手段的工具，「海筆子」是否成為一種「運動」的泡沫現象？ “Haibizi” is often classified as a public theatre. Its theatre thinking and acting styles are often compared to Bertolt Brecht’s theatre theory. But what differentiate between “Haibizi” from public theatre or political theatre, especially Brecht’s physical and theoretical ? Tent theatre is a kind of theatrical form that developed in the particular social contexts of “struggle for security procedure” in the 1960’s and 1970’s in Japan. It is also under the influence of European and American avant-garde movements. Certain traditional civil aesthetics awareness is required to understand European and American avant-garde movements, clearly define the tent theatre impact and development context, and also to further analyze "Haibizi." No study of “Haibizi” in Taiwan has, yet been traced back to traditional civil aesthetics. Western drama has been viewed from Japanese perspective view, which is probably different from Western drama in real traditional civil theatre. Therefore, this study gives an overview of the development of Western drama from the traditional civil aesthetics, the public theater, political theater to the twentieth century theatre experiment. It then explores the cross-section of contemporary postwar Japanese theatre trying to find out the impact that led to tent theatre. Finally it traces tent theatre experience of the head of “Haibizi” Daizou Sakurai, from Japan to Taiwan, to analyze “Haibizi” company operations. In the end, the study compares “Haibizi” and Brecht’s theatre theory. Both of them changed the functionality of drama. Howere, unlike Brecht, who insisted theatre nature and professionalism, "Haibizi" aims not to enhance the artistic level, but to create a consensus of “anti-capitalism” in East Asia Region. When the ultimate goal of the theater is no longer achieving art and “theatre” became an implementation tool, should “Haibizi” still be called tent “theatre”?
顯示於類別:	[戲劇學系所] 博碩士論文

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