臺灣博碩士論文加值系統

在世阿彌元清 (1363-1443) 的能劇美學觀當中，「花」的意象是構成其能劇藝術哲學的主要部分。在《風姿花傳》一書裡，世阿彌用「花」，或是日本的國花，櫻花，來展現能劇的精髓是如何地與日本民族對自然與生命運作方式的感知緊密關連。自然之物之所以被人們珍惜，乃是肇因於它們的短暫性。
弔詭地，世阿彌在一個不斷前進的循環，變，如同花綻放與凋零，又開始冒芽及再開花的過程中，找到一個可代表藝術永恆性的譬喻。從每場都是唯一的演出裡，他展望能劇藝術工作者永無止盡的努力不僅是他自身的命運，更是其榮耀所在。處在如此的弔詭卻又平衡的景況中，觀眾從中所見的是一個生與死重疊景象，一種對「道」運作方式的先驗。成功的能劇演員成為一朵綻放在舞台的花朵，他傳遞給觀眾宇宙真理，變動，的信息。能劇藝術家—劇作家和表演者兩者都是—以他們能夠調整自身去適應生活或藝術的變動狀況的能力，來參與改變傳統成創新的過程。因此，以英國浪漫主義與俄國形式主義詩學這方面來看，藝術就是使熟悉之物變作不熟悉，平常之物變作不尋常。只有透過這種方式，藝術才能維持它的新鮮感與持久興趣。
本論文分成五章。第一章提供能劇在日本開花的簡要背景。第二章為世阿彌《風姿花傳》中「花」的概念的一個討論。第三章探討「花」的簡意，及其與劉勰、葉燮觀念的相似。第四章從本體論、創作論到太極圖，闡述「花」如何從成為一個有機的整體。第五章藉由什科洛夫斯基的陌生化理論和能劇演出中所使用的多種道具，描述陌生化的精髓也正是藝術精神的根源所在。

In Zeami Motokiyo’s世阿彌元清 (1363-1443) Noh aesthetics, the image of hana is central to his philosophy of the Noh art. In Fushikaden風姿花傳, The Teaching of the Flowers on the Styles of Noh Performance, Zeami uses hana or cherry blossoms, the national flower of the Japanese, to show how the essence of the Noh drama is tied up with Japanese perception of nature and way of life. Things of nature are cherished because of their impermanence. Paradoxically, Zeami finds a metaphor of the permanence of art in the ever-going cycle of Change as flowers come into blossom and fade, begin to bud forth and bloom again. From the one-time-only performance, he envisions the never-ceasing effort of the Noh drama artist as both his destiny and glory. In the realm of such a paradoxical balance, what the audiences see is an overlapping of life and death, a transcendence to the Way of Dao道. The successful Noh performer becomes a blooming flower, which passes messages of the universal truth, Change, on the stage to the audiences. The Noh artist--the playwright and the performers alike--participate in the process of changing the traditional to the new in their capability to adapt themselves to changing situations in life and art. In terms of the English Romantic and Russian Formalist poetics, therefore, it is the art of making the familiar unfamiliar, and the usual unusual. It is the only way through which the art will maintain its freshness and enduring interest.
This thesis is divided into five chapters. The rough background information of Noh’s blooming in Japan is provided in Chapter One. A discussion of Zeami’s concepts of hana based on Fushikaden is presented in Chapter Two. Chapter Three explores the simple meanings of the hana and tries to connect them with similar concepts of Liu Xie (c.465 –c.532) and Ye Xie (1627-1703). Chapter Four illuminates how hana becomes an organic Oneness in light of ontology, creatology, and Taiji chart. Chapter Five depicts that the essence of defamiliarization is also the spirit of art by applying Victor Shklovsky’s (1893-1984) theory of defamiliarization and employing various elements in Noh performance.

Title Pages……………………………………………………………….………..…. i
Signatures…………………………………………………………………………. ii-iii
Acknowledgments………………………………………………………………... iv-vi
Chinese Abstract…………………………………………………………………vii-viii
English Abstract…………………………………………………………………… ix-x
Introduction………………………………………………………………………… 1-4
Chapter One: The Blooming of Hana in Japan…………………………………….5-11
Chapter Two: The Existence of Hana in Zeami’s Fushikaden….………………. 12-43
Chapter Three: The Simplicity of Hana…………………………………………. 44-60
Chapter Four: The Oneness of Hana……………………………………………..61-86
Chapter Five: The Paradoxes of Hana.….….…………………………………...87-103
Conclusion….………………………………………………………………….104-106
Works Cited and Consulted ……………………………………………………107-115

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