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2008達利歐‧佛國際學術研討會

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篇名 佛,寓言與演出: 應用 Dario Fo 之One was nude and one wore tails 探討表演藝術
卷期 2008
並列篇名 Parable and Performance: Rehearsing Dario Fo's One Was Nude and One Wore Tails to Study the Art of Performance
作者 Dr. Bruce G Shapiro
頁次 076-087
出刊日期 200810

中文摘要

諾貝爾獎得主義大利作家Dario Fo所著的劇作以其生動的劇情及明顯的政治涵 義聞名於世。Dario Fo的作品依循著傳統演員劇作家,如法國的Moliere,英國的 Noel Coward,維持了早期電影中丑角、美國歌舞喜劇及早期現場廣播及電視劇模 式。這些富創意的傑出人才,自編演出他們自己的寓言、短劇及故事影射當時的 社會及政治事件。 如同戲劇界中所有歷史性的重要變遷及人物,Dario Fo為後人所稱頌的永遠都 是他的文學劇作,而非他的現場表演。劇作是永恆的;然而表演只是短暫地製造 了一個當下對事件的幻想,且在我們腦中留下美好的回憶。就“演出”這個字面 意義來看,它代表了臨時的表演,因為演出只是暫時的,就如同“代理主任”或 是“代理校長”之職稱。所以,一個演員並非是永恆的表演者,而是將一件精湛 的藝術作品以表演的方式短暫地呈現出來。 當我們閱讀Dario Fo的劇本時,他不會將他劇本所要傳達的意思親自演繹出 來。此外,大多數人從未見過他的演出,所以我們也無從瞭解他那創意天賦中的 表演元素。我們只能透過其他方式,例如他在較知名的舞台劇”Accidental Death of an Anarchist”和"Cant Pay? Won't Pay!中的呈現成果,來評鑑Dario Fo的作品。然 而,Dario Fo劇作中許多對現實的影射都未能在其他語言或文化背景中成功地、忠實地被傳達。尤有甚者,這些劇作中最重要的,就是就是帶有著經典Dario Fo式的 鮮明角色。而當代的演員往往沒有足夠的能力去捕捉這些特點,因為他們無法詮 釋出Dario Fo那與生倶來帶著義大利丑角的即興喜劇表演特色。於是乎,我們所看 到Dario Fo的劇場角色,多半只能夠呈現出一小部分他的才華。甚者,拜讀Fo的短劇或鬧劇也是另一種方式去了解Fo的作品。他的作品不僅引 領我們欣賞他在戲劇領域的偉大貢獻,也讓我們對整體的劇場演出有更深入的了 解。Dario Fo的經典獨幕劇One Was Nude and One Wore Tails為達成此目標做了完 美的示範。如同此講題將呈現的,One Was Nude and One Wore Tails含括了所有足 以了解戲劇結構的元素、演員之職及創意舞台演出的課題。因此,解析及排演此 短劇可以幫助我們瞭解戲劇在世界上躍動的生命力,它也可成為拜讀Dario Fo的偉大作品、史上各劇作家之喜劇及戲劇的課前熱身練習。

英文摘要

The plays of Italian Nobel Laureate Dario Fo are known throughout the world for their combined theatrical vitality and social and political satire. Fo's style follows in the great tradition of Italian clowning known as the commedia dell'arte; and, as an actor-dramatist, he joins the likes of Moliere in France, Noel Coward in England, the enduring clowns of the silent cinema, and the spontaneous comics of American Vaudeville and early live radio and television programs. Like those unique creative talents, Fo wrote and performed his own parables, short sketches and stories. As with all historically significant movements and personalities in the theatre, Fo's lasting legacy will always be his plays rather than his performances. For unlike plays, which last forever, the ephemeral nature of performance only produces a chimera of what occurred on the stage, imagery that shines in our minds as a sudden afterglow of the performance. In a sense, the very word "acting" stands for this transient nature of performance, because "acting" signifies "temporary," such as the "acting chairperson" or the "acting president". So an actor is not a permanent but rather a temporary artist, the one who stands-in momentarily to produce the really remarkable artistic event of performance. When we read the plays of Dario Fo, he is not there acting for us, standing-in for what his plays mean to express; so we have no real way of appreciating the performance element of his creative genius. In addition, contemporary actors, especially in non-Western countries, are not naturally familiar with the classical tradition of the commedia dell'arte that is so much a part of Fo's personality as a performer. Furthermore, many of the topical and Christian allusions in those plays do not translate completely or well into other languages and cultures. This lack of familiarity often shows up in non-Italian productions of Fo's plays. Consequently, such productions represent only a thin layer of the genius that marks Fo's theatrical character.

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