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研究生:洪志偉
研究生(外文):Hong Chih-wei
論文名稱:幽冥劇場:高行健和山謬‧貝克特比較戲劇研究
論文名稱(外文):Theater of the Liminal: Gao Xingjian Read in the Light of Samuel Beckett
指導教授:黃心雅黃心雅引用關係
指導教授(外文):Huang Hsin-ya
學位類別:碩士
校院名稱:國立高雄師範大學
系所名稱:英語學系
學門:人文學門
學類:外國語文學類
論文種類:學術論文
論文出版年:2002
畢業學年度:90
語文別:英文
論文頁數:112
中文關鍵詞:幽冥荒謬劇場“進退兩難”“非我”敘述人稱移轉第四面牆“無我”寂光
外文關鍵詞:liminaltheater of the absurdaporias"not I" narrationpronominal shiftingthe fourth wallnon-beingdim light
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論文提要
高行健持續不斷的戲場實驗和創新的敘述風格,已讓他名位當代華文作家首列,並得以和其文壇前輩山謬‧貝克特一樣獲得諾貝爾文學桂冠榮銜的肯定。高行健和貝克特的互文關係在高氏文學生涯初期便受到矚目,高氏的《車站》一劇被視為第一部華文創作的荒謬劇,而該劇與貝克特《等待果陀》一劇間的相似處早已是評論焦點所在。然而,高行健總抱持著矛盾的態度看待貝克特對其劇場的影響,且高行健的劇作不只反映了他創作不懈的實驗精神,亦顯露出其極力凸顯其作品與貝克特劇作間差異所做的努力。
高氏劇場逐漸以禪劇形式出現,不過,明確的結構對應和主題迴響仍不斷地驗證了這兩位諾貝爾文學獎得主間的互文關係。為探究兩人之互文關係,本論文分章逐序地檢視了兩位劇作家對於“進退兩難”情境的刻劃、其用來引領讀者進入中介場域的〝非我〞敘述的運用、以及在高氏和貝氏文本中女性角色所處的幽冥位址。以兩位劇作家對幽冥情境的關注為導引,本文的討論蜿蜒穿過文本的中介地域,通過介於固定認同間的門檻位置,並進入劇場中角色的幽冥內心世界。
往返於兩位劇作家作品的幽冥交界處,本論文分為五章。首章為導論。第二章比較《車站》和《等待果陀》兩劇,以探究兩位劇作家呈現〝進退兩難〞經驗的不同方式。第三章透過比較高行健的《獨白》和貝克特《一篇獨白》,分析說明兩位劇作家如何運用〝非我〞敘述和人稱移轉技巧來顛覆第一人稱代名詞〝我〞的先驗性和劇場中看不見的第四面牆之存在。第四章將高行健二部流亡後作品《生死界》及《對話與反詰》和貝克特的《影片》、《ㄟ喬》和《幽魂三重奏》三部戲逐一比較,以找出並比較兩位劇作家朝〝無我〞發展的戲劇軌跡,同時比較兩人對女性的描寫。末章為結論。

Abstract
Gao Xingjian's theatrical experiments and innovative narrative style have granted him a position in the front rank of contemporary Chinese writers, and he, like Samuel Beckett before him, has been awarded the Nobel Prize for Literature. Gao's intertextual relation with Beckett begins at a very early stage of his literary career. Gao's The Bus Stop is acclaimed as the first Chinese play written in the absurdist vein and its affinities with Beckett's Waiting for Godot have been the focus of critical writings. However, Gao’s attitude toward Beckett's legacy in his theater is always ambivalent and his plays reflect not only his experimentalist spirit but also his attempt to differentiate himself from his Irish predecessor.
Nevertheless, even though Gao's theater gradually takes on a Zen Buddhist outlook, explicit structural correspondences and resounding thematic echoes continuously testify to the intertextual relation between the two Nobel Prize Laureates. To explore the resonant intertextual relation between Beckett and Gao, the thesis examines the aporetic situation dramatized by the two playwrights, the “not I” narration utilized to initiate the reader into the in-between terrain, and the liminal position that Beckett's and Gao's female characters inhabit. Guided by the two playwrights' preoccupation with the state of liminality, the thesis weaves through the in-between textual space, the threshold between fixed identifications, and the uncanny landscape of limbo or skull.
Getting into and out of the liminal intersection that characterizes the theatrical topography of both playwrights' works, the thesis falls into five chapters. Chapter one is introduction, while chapter two compares The Bus Stop with Waiting for Godot to explore the two playwrights' different ways of handling aporetic experience of non-passage. Chapter three provides a comparative study of two pieces of monologues, Gao’s Monologue and Beckett's A Piece of Monologue, to illustrate how the questionable transcendence of the first person pronoun “I” and the conventional conception of the imaginary fourth wall are destabilized by the two playwrights' uses of “not-I” narration and the narrative technique of pronominal shifting. Chapter four compares two of Gao's post-exile plays, Between Life and Death and Dialogue and Rebuttal, with three Beckett’ plays for screen, Film, Eh Joe, and Ghost Trio, to trace the similar dramatic trajectory of moving toward “non-being” in Gao and Beckett, while simultaneously trying to compare the two playwrights' portrayals of women. Chapter five is conclusion.

Table of Contents
Chapter One:
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . 1
Chapter Two:
Promised Aporias . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapter Three:
Testimonies to the Other . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Chapter Four:
For I(/Eye) and Him . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Chapter Five:
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . .99
Works Cited . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Works Cited
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