臺灣博碩士論文加值系統

暴力作為戲劇／劇場作品中時常呈現的主題，其相關論述的建構歷史源遠流長。然而莎拉・肯恩與《驚爆》的出現不僅使劇評的評斷標準無所適從，更映照出以再現為基礎的觀看美學長久以來的盲點與不足。在經過《菲德拉的愛》針對暴力的再現所做的極端實驗後，肯恩於《滌淨》中描寫暴力的方式，更接近於去再現的，感官感覺的暴力。她更透過廷克一角的運用與刻畫，指出道德評斷與暴力的共生關係。緊接著，透過《4.48精神崩潰》的創作，肯恩不僅搖撼了再現美學下的觀演關係與架構，更將暴力轉向破壞語言文本甚至作者自身，初步體現了亞陶殘酷劇場反再現的企圖，即把觀者與作品、再現與在場、自我與他者等界限消融的理想。肯恩藉由創作上的轉變，對劇場暴力乃至於再現做出深層辯證、質疑抵制，進而拋出了作者、作品與觀者共同「臨在」的可能性。

As a long lasting theme in drama and theatre, violence has been interpreted and analyzed with well-founded aesthetic system. However, due to the emergence of Sarah Kane’s Blasted, the criticism based on representation was interrupted, revealing the blind sides and shortcomings of standard theatrical aesthetic. After her extreme experiment on the representation of violence in Phaedra’s Love, Kane’s depiction of violence in Cleansed is more like the violence of sensation, which defies interpretation, moral judgment and the confinement of representation. Furthermore, through the characterization of Tinker, Kane indicates the immanence of violence and moral judgment. In 4.48 Psychosis, Kane not only shatters the spectatorship of representation but also turns violence against dramatic text and her own voice as an author. Like Artaud’s Theatre of Cruelty, Kane’s writing tries to eliminate the boundaries between subject and object, representation and presence, us and them through the ideal of experiential theatre. By raising questions about violence and the essence of representation, the ultimate goal of her works is to make author, performance, and spectators immersed simultaneously in the moment of presence.

誌謝………………………………………………………………………………….... i
中文摘要……………………………………………………………………………... ii
英文摘要…………………………………………………………………………….. iii
目錄………………………………………………………………………………….. iv
第一章　緒論 1
第一節　研究動機 1
第二節　文獻回顧 2
第三節　研究範圍與架構 11
第二章　暴力及其再現 13
第一節 戲劇／劇場暴力研究脈絡之回顧 13
一、文本中的暴力 13
二、暴力之於觀者 18
三、劇場暴力的形式與考究 24
第二節 脈絡的「驚爆」 25
第三節 從評論到評斷 30
第四節 從柏拉圖到再現 35
第三章　莎拉・肯恩的感官暴力 40
插　曲　暴力再現的極限：《菲德拉的愛》 44
第一節　暴力的感官衝擊：《滌淨》 48
第二節　評斷與暴力 55
第四章　從再現到殘酷 61
第一節 「受害者、行刑者、旁觀者」 65
第二節　再現與殘酷：《4.48精神崩潰》 73
第五章　結論 80
參考文獻 83

一、中文部分

巴特（Roland Barthes）。《戀人絮語》。汪耀進，武佩榮譯。臺北：商周出版，2010。
尼采（Friedrich W. Nietzsche）。《查拉圖斯特拉如是說》。林建國譯。臺北：遠流出版，1989。
——。《悲劇的誕生》。劉崎譯。臺北：志文出版，2000。
布魯克（Peter Brook）。《空的空間》。耿一偉譯。臺北：中正文化，2008。
——。《開放的門》。陳敬昊譯。臺北：書林出版，2009。
伊格頓（Terry Eagleton）。《文學理論導讀》。吳新發譯。臺北：書林出版，1993。
肯恩（Sarah Kane）。《莎拉‧肯恩戲劇集》。胡開奇譯。臺北：印刻文學，2009。
亞陶（Antonin Artaud）。《劇場及其複象》。劉俐譯注。臺北：聯經出版，2003。
桑塔格（Susan Sontag）。《在土星的標誌下》。姚君偉譯。上海：上海譯文，2006。
——。《反詮釋》。黃茗芬譯。臺北：麥田出版，2008。
麥多納（Martin McDonagh）。《枕頭人：英國當代名劇集》。胡開奇編譯。北京：新星出版，2010。
德・曼（Paul De Man）。《閱讀的寓言》。沈勇譯。天津：天津人民，2008。
傅柯（Michel Foucault）。《規訓與懲罰：監獄的誕生》。劉北成，楊遠嬰譯。臺北：桂冠出版，1992。
萬胥亭。《德勒茲・巴洛克・全球化》。臺北：唐山出版，2009。
德希達（Jacques Derrida）。《書寫與差異》。張寧譯。臺北：麥田出版，2004。
德勒茲（Gilles Deleuze）。《法蘭西斯‧培根：感官感覺的邏輯》。陳蕉譯。苗栗：桂冠出版，2009。
——。《德勒茲論文學》。李育霖譯。臺北：麥田出版，2006。
——。《德勒茲論傅柯》。楊凱麟譯。臺北：麥田出版，2000。
歐威爾（George Orwell）。《一九八四》。邱素慧，張靖之譯。臺北：印刻文學，2009。
薩睿立（Philip Zarrilli）。《身心合一：後史坦尼斯拉夫斯基的跨文化演技》。馬英妮，林見朗，白斐嵐譯。臺北：書林出版，2014。
薩克－馬索克（Leopold Sacher-Masoch）。《穿裘皮的維納斯》。康明華譯。西安：陝西師範，2008。

二、英文部分

Abel, Marco. Violent Affect: Literature, Cinema, and Critique after Representation. Lincoln: University of Nebraska Press, 2007.
Armstrong, Nancy, and Leonard Tennenhouse ed. The Violence of Representation: Literature and the History of Violence. New York: Routledge, 1989.
Artaud, Antonin. Selected Writings. Ed. Susan Sontag. New York: Farrar, Straus and Giroux, 1976.
Aston, Elaine. “Review the fabric of Blasted”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 13-27.
Bahun- Radunovic, Sanja, and V.G. Julie Rajan ed. Myth and Violence in the Contemporary Female Text: New Cassandra. Burlington: Ashgate, 2011.
Barber, Stephen. The Screaming Body. Creation Books, 1999.
Barish, Jonas. “Shakespearean Violence: A Preliminary Survey”. Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991. 101-22.
Barnette, Jane. “Spanked to the Fringe: Lesbian Sadomasochism”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 116- 125.
Black, Joel. The Aesthetics of Murder. Maryland: The Johns Hopkins UP, 1991.
Blattes, Susan, and Beatrand Koszul. “From Page to Stage: Construction of Space in Sarah Kane’s 4.48 Psychosis”. Mapping Uncertain Territories: Space and Place in Contemporary Theatre and Drama. Ed. Thomas Rommel and Mark Schreiber. Wissenschaftlicher Verlag Trier, 2006.
Boles, William C. “Violence at the Royal Court: Martin McDonagh’s The Beauty Queen of Leenane and Mark Ravenhill’s Shopping and Fucking”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006.
Bond, Edward. Saved. London: Methuen. 1984.
---. “The Mark of Kane”. Sarah Kane in Context. Manchester: Manchester UP, 2010. 209-220.
Borowski, Mateusz. “Under the surface of things: Sarah Kane and the medium of theatre”. Sarah Kane in Context. Manchester: Manchester UP, 2010. 184-194.
Brusberg-Kiermeier, Stefani. “Cruelty, Violence, and Rituals in Sarah Kane’s Plays”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 80-87.
Bryan, Richard Alan. “From the Voice to the Violent Act: Language and Violence in Contemporary Drama”. Diss. University of Tennessee, 2006.
Callahan, John M. “The Ultimate in Theatre Violence”. Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991. 165- 76.
Campbell, Peter A. “Sarah Kane’s Phaedra’s Love: Staging the Implacable”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 173-183.
Castaldo, Annalisa. “‘These were spectacles to please my soul’: Inventive Violence in the Renaissance Revenge Tragedy”. Staging Pain, 1580-1800: Violence and Trauma in British Theater. Ed. James Robert Allard and Mathew R. Martin. Burlington, VT: Ashgate, 2009. 49-56.
Chute, Hillary. “Victim. Perpetrator. Bystander’: critical distance in Sarah Kane’s Theatre of Cruelty”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester University Press, 2010. 161-172.
Countryman, John., and Charlotte Headrick. “The ‘End’ of Violence in Northern Ireland: Gender, Dramaturgy, and the Limits of Aristotelian Form”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 64-75.
Deleuze, Gilles. Cinema. Trans. Hugh Tomlinson and Barbara Habberjam. Minneapolis: University of Minnesota, 1986-1989.
---. Difference and Repetition. Trans. Paul Patton. New York: Columbia UP, 1994.
---. Francis Bacon: The Logic of Sensation. Trans. Daniel W. Smith. London: Continuum, 2005.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: University of Minnesota Press, 1987.
Derrida, Jacques. Writing and Difference. Trans. Alan Bass. London: Routledge, 2001.
Derrida, Jacques, and Paul Thévenin. The Secret Art of Antonin Artaud. Trans. Mary Ann Caws. Mass: MIT Press, 1998.
De Vos, Laurens. Cruelty and Desire in the Modern Theater: Antonin Artaud, Sarah Kane and Samuel Beckett. Maryland: Fairleigh Dickinson UP, 2011.
---. “Sarah Kane and Antonin Artaud: Cruelty towards the subjectile”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 126-138.
Emeljanow, Victor. “Grand Guignol and the Orchestration of Violence”. Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991. 151-64.
Enders, Jody. The medieval theater of cruelty: rhetoric, memory, violence. Ithaca: Cornell UP, 1999.
Ferris, Lesley. “Staging Violence against Women: A Long Series of Replays”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 31-40.
Fitzpatrik, Lisa. “Signifying Rape: Problems of Representating Sexual Violence on Stage”. Feminism and Rape Narratives: Violence and Violation. New York: Routledge, 2010.
Foakes, R. A. Shakespeare and Violence. UK: Cambridge, 2003.
Fordyce, Ehren. “The Voice of Kane.” Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 103-114.
Gatton, John Spalding. “‘There must be Blood’: Mutilation and Martyrdom on the Medieval Stage”. Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991. 79-92.
Girard, Dale Anthony. “Listening to the Language of Violence: The Orchestration of Sound and Silence in Fights for the Stage and Screen”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 86-95.
Goldhill, Simon. “Violence in Greek Tragedy”. Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991. 15- 34.
Gould, Thomas. “The Use of Violence in Drama”. Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991. 1- 14.
Gunne, Sorcha, and Zoe Brigley Thmpson ed. Feminism and Rape Narratives: Violence and Violation. New York: Routledge, 2010.
Giannopoulou, Zina. “Staging Power: The Politics of Sex and Death in Seneca’s Phaedra and Kane’s Phaedra’s Love”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 57-67.
Harley, James. “The Scenic Ideals of Roman Spectacles and Their Role in the Development of Amphitheatrical Space”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 41- 48.
Holdsworth, Nadine, and Mary Luckhurst ed. A Concise Companion to Contemporary British and Irish Drama. MA: Blackwell Publishing, 2008.
Homan, Richard L. “Mixed Feelings about Violence in the Corpus Christi Plays”. Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991. 93-100.
Horace. The Art of Poetry. Classical Literary Criticism. Trans. D.A. Russell. Ed. Russell and Michael Winterbottom. 1972. Oxford: Oxford UP, 1989. 98-110.
Horlacher, Stefan, Stefan Glomb, Lars Heiler ed. Taboo and Transgression in British Literature from the Renaissance to the Present. New York: Palgrave Macmillan, 2010.
Kane, Sarah. 4.48 Psychosis. Complete Plays. London: Methuen Drama, 2001.
---. Blasted. Complete Plays. London: Methuen Drama, 2001.
---. Cleansed. Complete Plays. London: Methuen Drama, 2001.
---. Crave. Complete Plays. London: Methuen Drama, 2001.
---. Phaedra’s Love. Complete Plays. London: Methuen Drama, 2001.
Kelly, Colleen. “Figuring the Fight: Recovering Shakespeare’s Theatrical Swordplay”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 96-108.
Kowalewski, Michael. Deadly Musings: Violence and Verbal Form in American Fiction. N.J.: Princeton UP, 1993.
Lant, Kathleen Margaret. “A Streetcar Named Misogyny”. Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991. 225-34.
Lawrance, Bruce B., and Aisha Karim ed. On Violence. USA: Duke UP, 2007.
Lublin, Robert I. “‘I Love You Now’: Time and Desire in the Plays of Sarah Kane”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 115-125.
Marber, Patrick. Closer. New York: Grove Press, 1999.
Martinez, J. D. “The Fallacy of Contextual Analysis as a Means of Evaluating Dramatized Violence”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 76-85.
Nouryeh, Andrea J. “Flashing Black: Dramatizing the Trauma of Incest and Child Sexual Abuse”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 49-63.
Pankratz, Annette. “Neither Here Nor There: Theatrical Space in Kane’s Work”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 149-160.
Plato. Republic 10. Classical Literary Criticism. Trans. D.A. Russell. Ed. Russell and Michael Winterbottom. 1972. Oxford: Oxford UP, 1989. 36-50.
Saunders, Graham. ‘Love Me, or Kill Me’: Sarah Kane and the Theatre of Extremes. Manchester: Manchester UP, 2002.
---. About Kane: the playwright and the work. London: Faber and Faber, 2009.
---. “The Beckettian World of Sarah Kane”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 68-79.
Scarry, Elaine. The Body in Pain: The Making and Unmaking of the World. New York: Oxford UP, 1985.
Scheper-Hughes, Nancy. “Sacred Wounds: Making Sense of Violence”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 7-30.
Sierz, Aleks. In-Yer-Face Theatre: British Drama Today. London: Faber and Faber, 2001.
---. “‘Looks Like there’s a War On’: Sarah Kane’s Blasted, Political Theatre and the Muslim Other”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 45-56.
Silverstone, Catherine. Shakespeare, Trauma and Contemporary Performance. New York: Routledge, 2011.
Smith, Raynette Halvorsen. “’night Mother and True West: Mirror Images of Violence and Gender”. Themes in Drama. Ed. James Redmond. Cambridge: Cambridge UP, 1991. 277-90.
Sontag, Susan. Against Interpretation. New York: Dell Publishing, 1966.
Staines. John D. “Radical Pity: Responding to Spectacles of Violence in King Lear. Staging Pain, 1580-1800: Violence and Trauma in British Theater. Ed. James Robert Allard and Mathew R. Martin. Burlington. VT: Ashgate, 2009. 75-92.
Stallybrass, Peter, and Allon White. The Politics and Poetics of Transgression. London: Methuen, 1986.
Stephenson, Heide, and Natasha Langridge. Rage and Reason: Women Playwrights on Playwriting. London: Methuen, 1997.
Urben, Ken. “An ethics of catastrophe: the theatre of Sarah Kane”. Performing Arts Journal, 23.3: 36-46, 2001.
---. “Body’s Cruel Joke: The Comic Theatre of Sarah Kane”. A Concise Companion to Contemporary British and Irish Drama. Ed. Nadine Holdsworth and Mary Luckhurst. UK: Blackwell, 2008.
Voigts-Virchow, Eckart. “‘We Are Anathema’ - Sarah Kane’s Plays as Postdramatic Theatre versus the ‘Dreary and Repugnant Tale of Sense’”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 195-208.
Waddington, Julie. “Posthumanist Identities in Sarah Kane”. Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 139-148.
Wade, Keslie A. “Postmodern Violence and Human Solidarity: Sex and Forks in Shopping and Fucking”. Theatre and Violence. Tuscaloosa, AL: Southeastern Theatre Conference: University of Alabama Press, 2006. 109-115.
Wallace, Clare. “Sarah Kane, Experiential Theatre and the Revenant Avant-Garde.” Sarah Kane in Context. Ed. Laurens De Vos and Graham Saunders. Manchester: Manchester UP, 2010. 88-99.

三、網路資料

Oxford English Dictionary. Oxford: Oxford UP, 2016. <http://www.ode.com>