「庸才的守護神！」：彼得·謝弗《阿瑪迪斯》中 薩里耶里的自我認識

Abstract

於西元一九七九年，彼得·謝弗出版其劇作《阿瑪迪斯》。本劇是由一則關於音樂家沃夫岡·阿瑪迪斯·莫札特與同為音樂家的安東尼奧·薩里耶里流傳的故事改編而成。本劇描述薩里耶里以向上帝宣戰為由持續地暗中迫害莫札特。對莫札特的愛與恨促使薩里耶里的自我認同受到龐大的改變。本論文以心理分析之角度檢視薩里耶里的自我認同與其變化。經歷了鏡像階段、無大他者的階段、莫札特（大他者之提示）的出現、莫札特之死、至最後的自我起名為「庸才的守護神」，薩里耶里的自我認同由父母的投射轉換成成自我欺騙式的認同，最後結束於無奈的自我接受。

Written in 1979, Peter Shaffer’s Amadeus reintroduces the old tale of the two musicians — Wolfgang Amadeus Mozart and Antonio Salieri. This play depicts the battles Salieri has with God by destroying Mozart. Being the only person who can recognize Mozart’s celestial music and being threatened by Mozart, Salieri faces the tremendous transformations of his self-identification; eventually, he addresses himself as “Patron Saint of Mediocrities.”\nThis thesis, treating Amadeus from the Lacanian lens, points out that Salieri’s self-identification has gone through certain times of transformations. Having his first self-identification in the Mirror Stage, experiencing the Other-less period of time, having Mozart (the reminder of his Other) appear in his life, losing Mozart, and finally recognizing himself as a mediocre, Salieri re-identifies himself throughout his lifetime. I argue that Salieri’s self-identification has changed from the reflection of his parents to self-deceptive identification, and finally, to a helpless self-recognition of his mediocrity.