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    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/101916


    Title: 荒謬戲劇：新虛構或新寫實
    Other Titles: Theatre of the absurd : a new fiction or a new realism;Le théâtre de l’absurde：une nouvelle fiction ou un nouveau réalisme
    Authors: 朱鴻洲
    Chu, Hung-Chou
    Keywords: 荒謬戲劇;虛構理論;閱讀美學;貝克特;伊歐尼斯科;阿達莫夫
    theatre of the absurd;fiction theory;the esthetic of reading;Samuel;théâtre de l’absurde;théorie de la fiction;esthètique de la réception
    Date: 2011-01
    Issue Date: 2016-09-10 14:16:32 (UTC+8)
    Abstract: 虛構是文學與戲劇重要的本質之一。事實上，我們甚至常將文學創作與虛構畫上等號。因此虛構理論一直以來是重要的文學研究領域之一。然而在諸多相關理論論述中，主要都是針對小說與詩歌為研究對象。以著名的文學理論家如 : Gérard Genette 與 Michael Riffaterre為例，前者藉由敘事理論，分析小說技巧與虛構的關連，後者則著重於研究詩歌的閱讀與其意義的產生，說明其虛構性。相對而言，對戲劇與虛構的關係則較少被提及。 這個研究的主要目的之一便是希望補充文學虛構理論在戲劇領域方面研究相對的不足。在研究方法上，我將借助於既有的文學虛構理論(例如 Thomas Pavel 和Gérard Genette的理論)。然而要強調的是，本文的分析對象主要為二十世紀法國的荒謬戲劇(le théâtre de l’absurde) —包括：貝克特(Samuel Beckett)、伊歐尼斯科(Eugène Ionesco)與阿達莫夫(Arthur Adamov )的作品。 本文的要點在於具體舉例說明荒謬劇所呈現與傳統文學虛構的不同之處。 一方面，我們將分析荒謬劇在語言的表現、人物的創造、時間與空間特殊的運用。 另一方面，經由Gérard Genette著作—Fiction et diction的啟發，我們將引用三種不同觀點：邏輯、文化與美學的面向來釐清其特殊性。 經由以上的論證，我們可強調，荒謬戲劇不僅呈現了另一種虛構形式，這種虛構形式除了是革命性的創新，而且同時否定了傳統戲劇(甚至文學)所依賴的虛構元素。或者更正確來說，給予它新的定義。這個新的虛構藝術的表現形式，似乎有助於寬廣我們對文學虛構所創造的“可能的世界”的接受能力。而且，如此新的虛構或許正好也提供了一種新的藝術寫實觀。我們可稱之為另一種《新寫實主義》。
    Fiction is one of the essences of literature, it is, by consequence, one of the main fields of literary studies. Most literary theorists study novel or poetry; however, the theatre is less mentioned. For example, according to Gérard Genette’s analysis, each different manner of narration of novel can create its own effect of fiction. Michael Riffaterre emphasizes that the fictionality of poetry is “produced”mainly by “the illusory reference”. Therefore, this study aims to supplement the deficiency of the literary study about the fictionality of theatre. My approach is to apply to contemporary literary theories like works from Thomas Pavel and Gérard Genette. The subject of my study is the theatre of the absurd in France, and I focus on the works from Samuel Beckett, Eugène Ionesco, and Arthur Adamov. For revealing the special fictionality of the theatre of the absurd, on the one hand, I analyze theatre’s main constructive elements: language, character, time and space. On the other hand, inspired by Gérard Genette’s work : Fiction et diction, I also study this question according to different points of view : logic, culture and esthetic. In this study, I demonstrate how the theatre of the absurd not only invents a revolutionary form of literary fiction, but also reverses and renews the traditional definition of fiction. First, what it presents is the possibility to widen our reception of a possible fictional world. Second, it creates a new way of making fiction in order to renew our vision of reality. Hence, we can call it a “new realism”.
    Relation: 外國語文研究, 13, 118-128
    Foreign language studies
    Data Type: article
    Appears in Collections:[Foreign language studies] Journal Articles

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