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題名 藝術表演或社會行動？──以《陰道獨白》及其展演為例
Art Performance or Social Action? ─ Taking The Vagina Monologues and Its Performance as an Example作者 沈宜臻
Shen, Yi-Jen貢獻者 高國魁<br>洪儀真
沈宜臻
Shen, Yi-Jen關鍵詞 《陰道獨白》
女性主義戲劇
社會行動劇場
勵馨基金會
On Stage表演藝術工作坊
The Vagina Monologues
Feminist theater
Theatre of social action
Garden of Hope Foundation
On Stage Workshop日期 2023 上傳時間 1-Sep-2023 15:30:00 (UTC+8) 摘要 在女性主義劇場中，性別暴力和性愉悅是敘事的永恆主題。這些關乎性別議題的劇碼不僅是單純的藝術表演，同時代表著社會倡議。劇團多半希望其演出能發揮行動的力量，翻轉不平等的情境。然而，劇作究竟是做為一個藝術品、還是做為一場社會行動製作而成，關乎於劇團的策略選擇。劇團究竟採取什麼樣的手法，讓性別議題顯現到大眾面前，就成了研究劇場的社會效應需要進一步釐清的問題。本文以伊芙‧恩斯勒的劇本《陰道獨白》在台灣的演出狀況為研究對象，分析勵馨基金會和On Stage表演藝術工作坊上演這齣戲的過程，挖掘不同劇團如何採取不同路徑將性別議題轉化為公共討論。本研究從兩大劇團對《陰道獨白》文本分析出發，看劇場如何展現社會的不平等議題。再來，則是從兩個劇團製作《陰道獨白》的背景，描繪出它們倡議的社會角色與性別價值。最後研究將以觀者的角度作結，評估劇場表演帶來的社會效應。本研究主要發現，作為婦女團體的勵馨基金會，與作為表演團體的On Stage工作坊，雖然演出性質有所不同，卻殊途同歸地將女性議題透過美學素材的轉化，達成社會的同情共感。當隱晦、不可言說的性議題得到藝術式顯化，相關的性別敘事也將獲得政治效用，結果產生社會上的觀念革命。與此同時，《陰道獨白》劇本的在地化改編也反向受到社會運動啟發，不斷創新鮮活經驗。
In the feminist theater, narratives of gender violence or sexual pleasure are eternal themes. These dramas are not only artistic performances, but also stand for social advocacy. People usually expect that their performances can exert strength of action to overturn gender inequality. However, the production of theater as an artwork or a social action pertains to a troupe`s choice of strategies. The different ways in which troupes utilize techniques to manifest gender issues before the public is a question that requires further clarification for studying the social effects of theaters.This thesis takes various performances of Eve Ensler’s The Vagina Monologues in Taiwan as a research object. It analyzes the production processes of the Garden of Hope Foundation and On Stage, and explore different paths chosen by distinct theater companies to transform gender issues into public discussions. This research starts with the textual analysis of The Vagina Monologues, examining how feminist theaters represent the issues of gender inequality. Furthermore, it will depict social roles and gender values they advocate from the vantage point of these two troupes’ production backgrounds. Finally, it ends with the audiences’ perspective, assessing the social effects brought about by theater performances.One major research finding is that although the Garden of Hope Foundation as a women`s group and On Stage Workshop as a performance group produce two different types of performance, they both transform women`s issues with aesthetic materials in order to achieve social empathy. When implicit and unspeakable sexual issues are manifested artistically, relevant gender narratives will also acquire political efficacy, resulting in a conceptual revolution within society. 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Edit by Edited by Gabriel Rockhill and Philip Watts, Durham: Duke University Press.Rancière, Jacques, 2010, Dissensus: On Politics and Aesthetics. Trans by Steven Corcoran. London & New York: Continuum International Publishing Group.Ridgeway, Cecilia L, Shelley Correll, 2004, “Unpacking the Gender System: A Theoretical Perspective on Gender Beliefs and Social Relations.” Gender & Society 18(4): 510-531.Schroeder, Ralph, 1996, The Feminist Possibilities of Dramatic Realism. New Jersey: Fairleigh Dickinson University Press.Tal, Kalí, 1996, Worlds of Hurt: Reading the Literatures of Trauma. Cambridge: Cambridge University Press.Turner, Victor, 1988, The Anthropology of Performance. New York: P AJ Publications.Walton, Kendall, 2015, “Fictionality and Imagination—Mind the Gap.” Pp. 17-35, in In Other Shoes: Music, Metaphor, Empathy, Existence. London: Oxford University Press.Žižek, Slavoj, 1996, “Fantasy as Political Category: A Lacanian Approach,” Journal for the Psychoanalysis of Culture & Society 1: 77-85. 描述 碩士
國立政治大學
社會學系
108254013資料來源 http://thesis.lib.nccu.edu.tw/record/#G0108254013 資料類型 thesis dc.contributor.advisor 高國魁<br>洪儀真 zh_TW dc.contributor.author (Authors) 沈宜臻 zh_TW dc.contributor.author (Authors) Shen, Yi-Jen en_US dc.creator (作者) 沈宜臻 zh_TW dc.creator (作者) Shen, Yi-Jen en_US dc.date (日期) 2023 en_US dc.date.accessioned 1-Sep-2023 15:30:00 (UTC+8) - dc.date.available 1-Sep-2023 15:30:00 (UTC+8) - dc.date.issued (上傳時間) 1-Sep-2023 15:30:00 (UTC+8) - dc.identifier (Other Identifiers) G0108254013 en_US dc.identifier.uri (URI) http://nccur.lib.nccu.edu.tw/handle/140.119/147055 - dc.description (描述) 碩士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 社會學系 zh_TW dc.description (描述) 108254013 zh_TW dc.description.abstract (摘要) 在女性主義劇場中，性別暴力和性愉悅是敘事的永恆主題。這些關乎性別議題的劇碼不僅是單純的藝術表演，同時代表著社會倡議。劇團多半希望其演出能發揮行動的力量，翻轉不平等的情境。然而，劇作究竟是做為一個藝術品、還是做為一場社會行動製作而成，關乎於劇團的策略選擇。劇團究竟採取什麼樣的手法，讓性別議題顯現到大眾面前，就成了研究劇場的社會效應需要進一步釐清的問題。本文以伊芙‧恩斯勒的劇本《陰道獨白》在台灣的演出狀況為研究對象，分析勵馨基金會和On Stage表演藝術工作坊上演這齣戲的過程，挖掘不同劇團如何採取不同路徑將性別議題轉化為公共討論。本研究從兩大劇團對《陰道獨白》文本分析出發，看劇場如何展現社會的不平等議題。再來，則是從兩個劇團製作《陰道獨白》的背景，描繪出它們倡議的社會角色與性別價值。最後研究將以觀者的角度作結，評估劇場表演帶來的社會效應。本研究主要發現，作為婦女團體的勵馨基金會，與作為表演團體的On Stage工作坊，雖然演出性質有所不同，卻殊途同歸地將女性議題透過美學素材的轉化，達成社會的同情共感。當隱晦、不可言說的性議題得到藝術式顯化，相關的性別敘事也將獲得政治效用，結果產生社會上的觀念革命。與此同時，《陰道獨白》劇本的在地化改編也反向受到社會運動啟發，不斷創新鮮活經驗。 zh_TW dc.description.abstract (摘要) In the feminist theater, narratives of gender violence or sexual pleasure are eternal themes. These dramas are not only artistic performances, but also stand for social advocacy. People usually expect that their performances can exert strength of action to overturn gender inequality. However, the production of theater as an artwork or a social action pertains to a troupe`s choice of strategies. The different ways in which troupes utilize techniques to manifest gender issues before the public is a question that requires further clarification for studying the social effects of theaters.This thesis takes various performances of Eve Ensler’s The Vagina Monologues in Taiwan as a research object. It analyzes the production processes of the Garden of Hope Foundation and On Stage, and explore different paths chosen by distinct theater companies to transform gender issues into public discussions. This research starts with the textual analysis of The Vagina Monologues, examining how feminist theaters represent the issues of gender inequality. Furthermore, it will depict social roles and gender values they advocate from the vantage point of these two troupes’ production backgrounds. Finally, it ends with the audiences’ perspective, assessing the social effects brought about by theater performances.One major research finding is that although the Garden of Hope Foundation as a women`s group and On Stage Workshop as a performance group produce two different types of performance, they both transform women`s issues with aesthetic materials in order to achieve social empathy. When implicit and unspeakable sexual issues are manifested artistically, relevant gender narratives will also acquire political efficacy, resulting in a conceptual revolution within society. In the meantime, localized adaptations of The Vagina Monologues have also been conversely inspired by social movements, constantly innovating fresh life experiences. en_US dc.description.tableofcontents 謝誌 1摘要 3第一章 緒論 9一、研究緣起 9（一）研究背景 9（二）研究動機 10二、問題意識 11（一）藝術介入社會 11（二）藝術家與公眾 15（三）小結 18三、文獻回顧 19（一）性別劇場的展演模型 20（二）戲劇與其社會情境 28（三）藝術欣賞的轉化效用 33（四）小結 41四、研究設計 43（一）研究對象 43（二）研究方法 47（三）研究架構 50第二章 《陰道獨白》劇本與劇場 53一、《陰道獨白》原創劇作 53（一）劇本章節概要 53（二）劇本內容分析 58（三）原作演出與評論 68二、《陰道獨白》在台演出 72（一）光腳的愛麗絲劇團 72（二）On Stage表演藝術工作坊 76三、表演內容分析 81（一）章節安排與剪裁 81（二）社會行動的劇場技巧 83（三）詮釋角色的工作方法 89四、小結 94第三章 劇場藝術的社會生成 97一、《陰道獨白》的演出製作 97（一）劇本的選擇 97（二）演出地點與規模 100（三）角色分配與排練 103（四）跨文化元素的調整 106（五）售票與宣傳 109（六）其他單位的合作 113二、性別意識與表演藝術 117（一）性別意識：多元化的平等 117（二）表演藝術：詩學或社會學的劇場 125（三）去／專業的藝術家 131三、小結 140第四章 社會行動劇場的觀演關係 143一、劇團與觀眾的互動模型 143（一）光腳的愛麗絲劇團 143（二）On Stage表演藝術工作坊 150（三）被壓迫者的劇場革命 155二、觀眾視角下的《陰道獨白》 160（一）觀眾訪談 160（二）美學體制中的劇場 168三、小結 177第五章 結語 179一、研究回顧 179（一）社會行動劇場下的陰性主體 179（二）藝術表演與社會行動的整合 180（三）開放性的觀演關係 181（四）小結 182二、研究限制與未來展望 183（一）多元視角的匡列 183（二）本土化劇本的追蹤 184附錄 186附錄一 訪談知情同意書 186附錄二 訪談大綱 188參考文獻 192 zh_TW dc.format.extent 5986425 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0108254013 en_US dc.subject (關鍵詞) 《陰道獨白》 zh_TW dc.subject (關鍵詞) 女性主義戲劇 zh_TW dc.subject (關鍵詞) 社會行動劇場 zh_TW dc.subject (關鍵詞) 勵馨基金會 zh_TW dc.subject (關鍵詞) On Stage表演藝術工作坊 zh_TW dc.subject (關鍵詞) The Vagina Monologues en_US dc.subject (關鍵詞) Feminist theater en_US dc.subject (關鍵詞) Theatre of social action en_US dc.subject (關鍵詞) Garden of Hope Foundation en_US dc.subject (關鍵詞) On Stage Workshop en_US dc.title (題名) 藝術表演或社會行動？──以《陰道獨白》及其展演為例 zh_TW dc.title (題名) Art Performance or Social Action? ─ Taking The Vagina Monologues and Its Performance as an Example en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 王中，2014，《公共藝術概論》。北京：北京大學。汪彥成，2017，《重探公共性：臺灣當代藝術的公共性問題》。臺北：臺北藝術大學藝術跨域研究所碩士論文。林殷齊，2016，〈臺灣女性藝術家創作中自我概念之探究（1895-2013）〉。《藝術研究學報》，9（1），67-92。段馨君，2010，《凝視臺灣當代劇場 ：女性劇場、跨文化劇場與表演工作坊》。台北：Airiti Press華藝學術出版社。段馨君，2012，〈《暴風雨》的身體展演與殖民創傷〉。《英美文學評論》，（20），35-69。陳芳英，2011，〈深雪初融：論新世紀新編京劇的女性書寫〉。《戲劇學刊》，（13），35-64。曾鈺涓，2005，〈女性身體與藝術創作──從「美的象徵」到「主體意義」的呈現〉。《婦研縱橫》，（74），31-42。楊婉怡，1998，《後現代性別政治：當代英美女性主義劇場理論初探》。臺北：國立藝術學院戲劇研究所碩士論文。周泓儒，2018，〈【性別劇場】從政治角力到女性主體！女性主義劇場極簡史〉。女人迷，https://womany.net/read/article/15537?type=author，取用日期2022年3月25日。黃斐新，2020，〈看妳不爽，然後？當性別遇見受壓迫者劇場〉。臺灣被壓迫者劇場推廣中心，http://www.ctotw.tw/2011/10/blog-post.html，取用日期2022年3月25日。Boal, Augusto著、賴淑雅譯，2000，《被壓迫者劇場》。臺北：揚智出版。Boal, Augusto著、馬利文譯，2019，《慾望的彩虹》。北京：北京師範大學出版。Biro, David著、彭榮邦譯，2014，《聆聽疼痛 ：為痛苦尋找話語、慈悲與寬慰》。新北：木馬文化。Bishop, Claire著、林宏濤譯，2015，《人造地獄 ：參與式藝術與觀看者政治學》。臺北：典藏藝術家庭出版。Ensler, Eve著、丁凡、喬色分譯，2014，《陰道獨白》。臺北：心靈工坊文化。Hauser, Arnold著、居延安編譯，1990，《藝術社會學》。臺北：雅典出版。Jones, Phil著、洪素真等譯，2002。《戲劇治療》。臺北：五南出版。Landy, Robert著、王秋絨等譯，2016，《人格面具與表演 ：角色在戲劇、治療與日常生活的意義》。臺北：心理出版社。Rancière, Jacques著、楊成瀚、關秀惠譯 ，戴遠雄審訂、修譯、導讀，2021，《感性配享 ：美學與政治》。臺北：商周出版。Sontag, Susan著、陳耀成譯，2017，《旁觀他人之痛苦》。臺北：麥田出版。Adorno, Theodor, 1981, Prisms. 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