臺灣博碩士論文加值系統

摘要

本論文以比較方法研究法國藝術家亞陶與歐蘭的劇場語彙、身體表演、及觀看關係。除點出兩人作品中相似的主題，也將強調其藝術手法及社會影響力的相異之處。第一章將闡述德希達所言之古典劇場性的症狀，並以柏拉圖的洞穴寓言、紀．德博的景觀批判、及菲蘿的可逆之律為例證。其後，將引用塞穆爾．韋伯緣自德西達觀點所定義的劇場性，分析亞陶與歐蘭景觀暴力的誘惑與虛擬的風險。
第二章將聚焦於兩位藝術家的身體表演。透過巴特勒提出的操演性之理論，本章將分析他們為何及如何重新詮釋被規範論述性/別化與階層化的身體，而進一步提出人/非人的另類表演美學。關於巴特勒在劇場性論述上的疑慮，他們的例證或可提供新的思考方向。第三章將勾勒亞陶與歐蘭創作背景的歷史脈絡，檢視現代性與後現代性境況對兩人藝術生產的影響。視覺娛樂的發展對藝術生產帶來優勢也帶來衝擊，而兩人的觀看理論與實際的觀眾互動也反映社會中視覺範型與藝術功能的改變。本章最後將以洪席耶「解放的觀眾」為引，再探觀者被動性的議題，並反思個人主義式的美學何以能為德博擔憂的自閉現象開啟新機。
由一、二章的創作意圖至第三章的觀眾參與，本論文將透過不同角度檢視兩人的理論與實務，並釐清在表演藝術的交流中，不同參與端的投入及得失。

關鍵詞：亞陶、歐蘭、景觀、劇場性 、虛擬性、操演性 、觀看關係

English Abstract

The thesis adopts a comparative approach to investigate the theatrical expressions, bodily performances, and spectatorship of the two French artists, Artaud and Orlan. Apart from their similar concerns, I will also foreground their disparities in methods and culminated consequences. The opening chapter will pursue Derrida’s problematic of the symptoms of classical theatricality, which will be illustrated by Plato’s cave metaphor, Guy Debord’s critique of the spectacle, and Josette Feral’s law of reversibility. Afterwards, I will draw on Samuel Weber’s deconstructive definition to address the seductiveness and virtual risk of Artaud’s and Orlan’s theaters.
The second chapter turns to their bodily performance. In the light of Judith Butler’s theory of performativity, I intend to underscore why and how they re-signify the body conditioned by the sexual differentiation and hierarchization of normative discourses, proceeding to offer alternative performances bordering on the human and the non-human. Regarding Butler’s more ambiguous accounts about theatricality, their practices may also provide some new ways of thinking. The third chapter will contextualize Artaud’s and Orlan’s creations in the social conditions of modernity and postmodernity. The growth of visual entertainments engenders niches as well as crises for their artistic productions. Observably, their ideas about spectatorship and their actual audience participation also reflect the changes in visual regimes and functions of arts. Finally, I will use Jacques Ranciere’s “the emancipated spectator” to revisit the problem of spectatorial passivity and to reflect on how his individualist aesthetics can shed new light on Debord’s universal autism.
Evolving from artistic intentions in the first two chapters to audience participation in the third, this thesis will examine their theories and practices from different perspectives, with a view to clarifying the investments of different parties in the artistic communication of performances.

Keywords: Artaud, Orlan, spectacle, theatricality, virtuality, performativity, spectatorship

Table of Contents

Acknowledgements i
Mandarin Abstract ii
English Abstract iv
Table of Contents vi
Table of Figures viii

Introduction 1
I. Motivation 1
II. Literature Review 4
III. Methodology 9
Chapter One: Theatricality and Virtuality 15
I. Theatricality: Historical Debates 16
A. Anti-theatricality 16
B. Semiotic Theatricality 20
C. Deconstructionist Perspective 22
II. Theatricality of Artaud and Orlan 28
A. Artaud: A Metaphysical Poetry of Space 29
B. Orlan: Baroque Theatricality 38
III. Conclusion 49
Chapter Two: Theatricality and Performativity 51
I. Theatricality and Performativity 52
A. Paradigm Shift: From Theater to Performance 52
B. Butler: Performance and Performativity 56
II. Hermaphrodite in Performance 62
A. Artaud 62
B. Orlan 76
III. Conclusion: Toward a Prefigurative Aesthetics 90
Chapter Three: Spectatorships in Modernity and Postmodernity 93
I. The Conditions of Modernity 93
A. The Rise of the Director 94
B. The Problem of the Audience 97
C. Artaud and His Spectators 98
D. The Paradox of Failure 102
II. The Conditions of Postmodernity 106
A. Postmodern Directors 107
B. Spectators as Tourists 109
C. Orlan and Her Spectators 111
III. Toward A Dissensual Aesthetics 115
Chapter Four: Retrospect and Prospect 119

Works Cited 124

Works Cited
Primary Sources
Artaud, Antonin. The Theater and Its Double. Trans. Mary Caroline Richards. New York: Grove P, 1958. Print.
---. Antonin Artaud, Selected Writings. Ed. and intro. Susan Sontag. Trans. Helen Weaver. New York: Farrar, Straus and Giroux, 1976. Print.
---. The Cenci. Trans. Simon Watson Taylor. New York: Grove P, 1970. Print.
---. “To Have Done with the Judgment of God: A Radio Play.” Antonin Artaud: Four Texts. Ed. and Trans. Clayton Eshleman and Norman Glass. Los Angeles: Panjandrum Books, 1982. 60-79. Print.
---. Antonin Artaud: Four Texts. Ed. and Trans. Clayton Eshleman and Norman Glass. Los Angeles: Panjandrum Books, 1982. Print.
---. Antonin Artaud Anthology. Ed. Jack Hirschman. San Francisco: City Lights Books, 1965. Print.
Orlan. “Carnal Art Manifesto (1989).” Trans. Simon Donger. ORLAN: A Hybrid Work of Artworks. Ed. Simon Donger, Simon Shepherd, and Orlan. London; New York: Routledge, 2010. 28-29. Print.
---. “Interventions.” 1995. Trans. Tanya Augsburg and Michel A. Moos. The Ends of Performance. Ed. Peggy Phelan and Jill Lane. New York; London: New York UP, 1998. 315-27. Print.
---. “The Virtual and/or the Real.” Trans. Diane Morgan. The Cyborg Experiments: The Extensions of the Body in the Media Age. Ed. Joanna Zylinska. London; New York: Continuum, 2002. 168-71. Print.
---. “This Is My Body . . . This Is My Software.” Trans. Simon Donger. ORLAN: A Hybrid Work of Artworks. Ed. Simon Donger, Simon Shepherd, and Orlan. London; New York: Routledge, 2010. 35-47. Print.
---. “In Retrospect.” Trans. Simon Donger. ORLAN: A Hybrid Work of Artworks. Ed. Simon Donger, Simon Shepherd, and Orlan. London; New York: Routledge, 2010. 103-19. Print.
Secondary Sources
Abercrombie, Nicholas, and Brian Longhurst. Audiences: A Sociological Theory of Performance and Imagination. London: Sage, 1998. Print.
Artaud, Antonin, et al. “Antonin Artaud’s Les Cenci.” The Drama Review 16.2 (1972): 91-145. JSTOR. Web. 14 May 2014.
Aston, Elain. “From Orlan to Bernhardt: Recycling French Feminism, Theatre and Performance.” Contemporary French Performance. Ed. Clare Fingurgh and Carl Lavery. New York: Palgrave Macmillan, 2011. Ebrary. Web. 26 July. 2014.
Augsburg, Tanya. “Orlan’s Performative Transformation of Subjectivity.” The Ends of Performance. Ed. Peggy Phelan and Jill Lane. New York; London: New York UP, 1998. 285-314. Print.
Auslander, Philip. “Orlan’s Theatre of Operations.” Theatre Forum 7 (Summer-Fall 1995): 25-31. Web. 23 Oct. 2014.
---. “Live Performance in a Mediatized Culture.” Liveness: Live Performance in A Mediatized Culture. London; New York: Routledge, 1999. 10-50. Print.
Ayers, Robert. “Serene and Happy and Distant: An Interview with Orlan.” Body & Society 5 (Sep. 1999): 171-84. Sage Journals. Web. 1 Nov. 2014.
Barbara, Rose. “Orlan: Is It Art? Orlan and the Transgressive Act.” Art in America (Feb. 1993): 83-125. Web. 9 Sep. 2014.
Barber, Stephen. Artaud: The Screaming Body. London: Creation Books, 2005. Print.
Bauman, Zygmunt. Postmodernity and Its Discontents. Cambridge, UK: Polity, 1997. Print.
Beckett, Andy. “Suffering for Her Art.” The Independent. The Independent, 14 April 1996. Web. 10 Sep. 2014.
Botting, Fred, and Scott Wilson. “Morlan.” The Cyborg Experiments: The Extensions of the Body in the Media Age. Ed. Joanna Zylinska. London; New York: Continuum, 2002. 149-67. Print.
Bradbury, Malcolm, and James McFarlane. “The Name and Nature of Modernism.” Modernism 1890-1930. Ed. Malcolm Bradbury and James McFarlane. Harmondsworth; New York: Penguin, 1976. 19-55. Print.
Brennan, Teresa. The Transmission of Affect. Ithaca: Cornell UP, 2004. Print.
Buci-Glucksmann, Christine. “The Triumph of the Folds.” Trans. F. Finizio and Simon Donger. ORLAN: A Hybrid Work of Artworks. Ed. Simon Donger, Simon Shepherd, and Orlan. London; New York: Routledge, 2010. 1-12. Print.
Burns, Elizabeth. Theatricality: A Study of Convention in the Theatre and in Social Life. New York: Harper & Row, 1973. 88. Print.
Butler, Judith. “Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory.” Theatre Journal 40.4 (Dec 1988): 519-31. JSTOR. Web. 30 March 2015.
---. Gender Trouble: Feminism and the Subversion of Identity. 1990. New York; London: Routledge, 2006. Print.
---. “Preface (1999).” Gender Trouble: Feminism and the Subversion of Identity. 1990. New York; London: Routledge, 2006. vii-xxviii. Print.
---. Bodies That Matter: On the Discursive Limits of “Sex.” New York; London: Routledge. 1993. Print.
Carlson, Marvin A. “The Twentieth Century, 1930-1950.” Theories of the Theatre: A Historical and Critical Survey from the Greeks to the Present. Expanded ed. New York: Cornell UP, 1993. 376-410. Print.
---. “The Resistance to Theatricality.” Ed. Josette Feral. Theatricality. Spec. issue of SubStance 31.2/3 (2002): 238-50. JSTOR. Web. 22 Nov. 2014.
Chang, Ivy I-chu. “Feminist Performativity of Monstrosity, Cyborg, and Posthuman Subjectivity: Orlan’s Carnal Art.” Tamkang Review 41.1 (Dec 2010): 75-96. Airiti. Web. 28 July. 2014.
Chiaromonte, Nicola. “Antonin Artaud and His Theater.” The Worm of Consciousness and Other Essays. Ed. Miriam Chiaromonte. Trans. Miriam Chiaromonte. Pref. Mary McCarthy. New York; London: Harcourt Brace Jovanovich, 1977. 107-26. Print.
Clarke, Julie. “The Sacrificial Body of Orlan.” Body & Society 5 (Sep 1999): 185-207. Sage Journals. Web. 7 Nov. 2014.
Debord, Guy. The Society of the Spectacle. 1967. Trans. Ken Knabb. London: Rebel P, 2006. Print.
---. Comments on the Society of the Spectacle. 1988. Trans. Malcolm Imrie. London; New York: Verso, 1998. Print.
Deleuze, Gilles. “The Schizophrenic and Language: Surface and Depths of Lewis Carroll and Antonin Artaud.” 1979. Antonin Artaud: A Critical Reader. Ed. Edward Scheer. London; New York: Routledge, 2004. 32. Print.
Deleuze, Gilles and Felix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Trans. Rober Hurley, Mark Seem, and Helen R. Lane. Pref. Michel Foucault. Minneapolis: U of Minnesota P, 1983. Print.
Derrida, Jacques. “La Parole Souffle.” Writing and Difference. 1978. Trans. and Intro. Alan Bass. London: Routledge, 2001. 169-95. Print.
---. “The Theater of Cruelty and the Closure of Representation.” Writing and Difference. 1978. Trans. and Intro. Alan Bass. London: Routledge, 2001. 232-50. Print.
---. “Differance.” Margins of Philosophy. Trans. Alan Bass. Chicago: U of Chicago P, 1982. 3-27. Print.
Donger, Simon, Simon Shepherd, and Orlan, eds. ORLAN: A Hybrid Body of Artworks. London; New York: Routledge, 2010. Print.
Eshleman, Clayton, and Norman Glass. Antonin Artaud: Four Texts. Trans. Clayton Eshleman and Norman Glass. Los Angeles: Panjandrum Books, 1982. Print.
Evans, Dylans. An Introduction of Lacanian Psychoanalysis. London; New York: Routledge, 1996. Print.
Faber, Alyda. “Saint Orlan: Ritual as Violent Spectacle and Cultural Criticism.” TDR 46.1 (Spring 2002): 85-92. JSTOR. Web. 10 Sep. 2014.
Feral, Josette. “Performance and Theatricality: The Subject Demystified.” Trans. Terese Lyons. Modern Drama 25.1 (1982): 170-81. Print.
---. “Foreword.” Theatricality. Ed. Josette Feral. Spec. issue of SubStance 31.2/3 (2002 a): 3-13. JSTOR. Web. 22 Nov. 2014.
---. “Theatricality: The Specificity of Theatrical Language.” Trans. Ronald P. Bermingham. Theatricality. Ed. Josette Feral. Spec. issue of SubStance 31.2/3 (2002 b): 94-108. JSTOR. Web. 22 Nov. 2014.
Finter, Helga, and Matthew Griff. “Antonin Artaud and the Impossible Theatre: The Legacy of the Theatre of Cruelty.” The Drama Review 41.4 (Winter 1997): 15-40. JSTOR. Web. 9 Dec. 2013.
Fischer-Lichte, Erika. The Show and the Gaze of Theatre: A European Perspective. Iowa: U of Iowa P, 1997. Print.
Gold, Schine Penny. The Lady and the Virgin: Images, Attitudes, and Experiences in the Twelfth Century. Chicago; London: U of Chicago P, 1987. Ebrary. Web. 17 April 2015.
Goodall, Jane. Artaud and the Gnostic Drama. Oxford: Clarendon, 1994. Print.
Graver, David. “Antonin Artaud and the Authority of Text, Spectacle, and Performance.” Contours of the Theatrical Avant-Garde: Performance and Textuality. Ed. James M. Harding. Michigan: U of Michigan P, 2000. 43-57. Print.
Gray, Chris Hables. “In Defense of Prefigurative Art: The Aesthetics and Ethics of Orlan and Stelarc.” The Cyborg Experiments: The Extensions of the Body in the Media Age. Ed. Joanna Zylinska. London; New York: Continuum, 2002. 181-92. Print.
Greene, Naomi. Antonin Artaud: Poet Without Words. Intro. Janet Flanner. New York: Simon and Schuster, 1971. Print.
Harvey, David. “The Passage from Modernity to Postmodernity.” The Condition of Postmodernity: An Inquiry into the Origins of Cultural Change. Cambridge, MA: Basil Blackwell, 1989. 10-38. Print.
---. “Time-Space Compression and the Postmodern Condition.” The Condition of Postmodernity: An Inquiry into the Origins of Cultural Change. Cambridge, MA: Basil Blackwell, 1989. 284-307. Print.
Hayman, Ronald. Artaud and After. London; New York: Oxford UP, 1977. Print.
Hirschhorn, Michelle. “Orlan: Artist in the Post-Human Age of Mechanical Reincarnation: Body as Ready (To Be Re-) Made.” Generations and Geographies in the Visual Arts: Feminist Readings. Ed. Griselda Pollock. London; New York: Routledge, 1996. 110-34. Print.
Ince, Kate. Orlan: Millennial Female. Oxford; New York: Berg, 2000. ProQuest. Web. 3 Sep. 2014.
Innes, Christopher. “Antonin Artaud and the Theatre of Cruelty.” Avant Garde Theatre 1892-1992. London; New York: Routledge, 1993. 59-94. Print.
Jannarone, Kimberly. Artaud and His Doubles. Michigan: U of Michigan P, 2012. Ebrary. Web. 19 Feb. 2014.
Kennedy, Dennis. The Spectator and the Spectacle: Audiences in Modernity and Postmodernity. Cambridge, UK; New York: Cambridge UP, 2009. Print.
Loxley, James. “Performativity and Performance Theory.” Performativity. London; New York: Routledge, 2007. 139-66. Print.
Morfee, Adriane. Antonin Artaud’s Writing Bodies. Oxford; New York: Clarendon P; Oxford UP, 2005. Ebrary. Web. 19 Feb. 2014.
Pollock, Griselda, ed. Generation and Geographies in the Visual Arts: Feminist Readings. London; New York: Routledge, 1996. Print.
Postlewait, Thomas, and Tracy C. Davis. Theatricality. Ed. Tracy C. Davis and Thomas Postlewait. Cambridge, UK; New York: Cambridge UP, 2003. Print.
Ranciere, Jacques. The Emancipated Spectator. Trans. Gregory Elliott. London; New York: Verso, 2009. Print.
Reinelt, Janelle. “The Politics of Discourse: Performativity Meets Theatricality.” Theatricality. Ed. Josette Feral. Spec. issue of SubStance 31.2/3 (2002): 201-15. JSTOR. Web. 26 Feb. 2015.
Schechner, Richard. “A New Paradigm of Theatre in the Academy.” TDR 36.4 (Winter 1992): 7-10. JSTOR. Web. 10 Dec. 2014.
---. Performance Theory. 1988. London; New York: Routledge, 2003 ed. Print.
Sedgwick, Eve Kosofsky. “Introduction.” Touching Feeling: Affect, Pedagogy, Performativity. Durham; London: Duke UP, 2003. 1-25. Print.
Shoham, Shlomo Giora. “Antonin Artaud—Outside of Time.” Art, Crime, and Madness. Brighton; Portland: Sussex Academic P, 2002. 181-89. Print.
Sontag, Susan. “Artaud.” Introduction. Antonin Artaud, Selected Writings. Ed. and intro. Susan Sontag. Trans. Helen Weaver. New York: Farrar, Straus and Giroux, 1976. xvii-lix. Print.
Su, Tsu-chung. “The Occidental Theatre and Its Other: The Use and Abuse of the Oriental Theatre in Antonin Artaud.” NTU Studies in Language and Literature 22 (Dec 2009): 1-30. Airiti. Web. 30 Dec. 2013.
---. “Bodies That Matter: How Does a Performer Make Himself/Herself a Dilated Body?” Tamkang Review 42.1 (Dec 2011): 103.26. Airiti. Web. 30 Apr. 2013.
---. “Artaud’s Journey to Mexico and His Portrayals of the Land.” Comparative Literature and Culture 14.5 Special Issue: New Work about the Journey and Its Portrayals (Dec 2012): Article 17. CLCWeb. Web. 11 April 2015.
Tschemplik, Andrea. “Book VII.” The Republic: The Comprehensive Student Edition. Lanham, MD: Rowman & Littlefield, 2005. 249-83. Print.
Voegelin, Salome. “Noise.” Listening to Noise and Silence: Towards a Philosophy of Sound Art. New York: Continuum, 2010. 41-77. Ebrary. Web. 19 April. 2015.
Weber, Samuel. Mass Mediauras: Form, Technics, Media. Ed. Alan Cholodenko. Stanford, CA: Stanford UP, 1996. Print.
---. “The Virtuality of the Media.” Emergences: Journal for the Study of Media & Composite Cultures 10.1 (May 2000): 297-317. EBSCOHost. Web. 21 Nov. 2014.
---. Theatricality as Medium. New York: Fordham UP, 2004. Print.
Zylinska, Joanna. The Cyborg Experiments: The Extensions of the Body in the Media Age. London; New York: Continuum, 2002. Print.

Performance and Filmography
Orlan, Carnal Art. Dir. Stephan Oriach. Perf. Orlan, Connie Chung, Gladys Fabre. Myriapodus Films, 2001. Youtube. Web. 25 Sep. 2014. Documentary.
Swallow. Dir. Po-yuan Chung. Perf. Jing-hsin Hsiao, Chia-nan Lin, Pei Tseng et al. Shinehouse Theatre. Experimental Theatre of National Theatre in Taipei. 26-28 Oct. 2012. Performance.
The Documentary Study: Drapery—The Baroque. Perf. Orlan. A History of Performance Art on the Riviera from 1951 until Now. Web. 15 April 2015. Video Recording.
To Have Done with the Judgment of God: A Radio Play. Radio play by Antonin Artaud. Perf. Antonin Artaud, Maria Casares, Roger Blin, and Paule Thevenin. Pacifica Radio Archives. Rec. Feb. 1947. Open Culture. Web. 31. Oct. 2014. Recording.
中文
楊莉莉。〈標榜演出之戲劇性：法國表／導演新面向〉。《戲劇學刊》第13期（2011年1月）：161-93。《華藝線上資料庫》2015年05月22日。