| 摘要: | 王墨林自1980年代起,在台灣的小劇場、前衛藝術及社會議題上,多有作品及發表,並訖1992年創立「身體氣象館」,強調關懷台灣社會脈動。本文將以劇場符號學(The Semiotics of theatre)的分析方法,分析王墨林2004年之作品<軍史館殺人事件>>符號涵指。全劇改編自真實社會事件郭慶和案。王墨林提取事件元素,表達自己長久以來對國家暴力之體悟。
基爾•伊拉姆(Keir Elam)的劇場符號學,將劇場所有的元素分成不同的頻道(Channel),並用「歷時性」與「並時性」的橫向及縱向的方式來分析整體,而「歷時性」是橫向分析各個頻道中系統的安排和設計,「並時性」則是縱向來看段落所呈現出的密度與處理方式,藉由兩種的研究的方式,本研究將深掘出舞台呈現之符碼與創作者之次符碼間能指與所指的辯證關係。
Molin Wang has written and published several works in Taiwan’s small
theatres since the 80s. They touch upon avant-garde arts and social issues. He established the “Body Phase Studio” in 1992, emphasizing the care of Taiwan’s society. This study seeks to analyze the signified in his play in 2004 “Murder at the Museum of Armed Forces” with the method of the Semiotics of Theatre and Drama. The work is written based on the real social incident of Kuo Ching-ho. Molin Wang draws upon elements in the incident to express his understanding of state violence.
In his Semiotics of Theatre and Drama, Keir Elam separates all elements in the theatre into different channels and uses “diachronism” and “synchronism” to analyze the whole. “Diachronism” analyzes horizontally the arrangement in each channel system. “Synchronism” analyzes vertically the acts and their density and presentation. Through these two angles, this study seeks to dig deep into the representation of theatrical codes and the dialogical relations between the signifier and the signified in the subcodes of the playwright. |
