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題名：四部與自由言論相關之當代戲劇研究
作者：李欣怡
作者(外文)：Lee, Shin-yi
校院名稱：國立中正大學
系所名稱：外國語文研究所
指導教授：石光生
陳月妙
學位類別：博士
出版日期：2011
主題關鍵詞：自由言論；傅柯；真理；柯琳‧華格納；海蓮娜‧西蘇；達利歐‧弗；安娜‧德維爾‧史密斯；Parrhesia；Michel Foucault；truth；Colleen Wagner；Hélène Cixous；Dario Fo；Anna Deavere Smith
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本論文以傅柯(Michel Foucault)所討論之「自由言論」(parrhesia)的觀念為理論主軸，探討當代戲劇中，劇作家及劇場如何應用創作自由，將真實的社會事件搬演至舞台上，藉此使觀眾及所有劇場工作者得以重新檢視過去已發生的歷史，甚或是藉此重新詮釋過去，得到新的經驗及認知。「自由言論」(parrhesia)原義為「直言不諱」(to speak frankly)、「自由言說」(free speech)，意指毫無隱瞞地公開表達自己的看法。在古希臘時期是公民權，也是民主制度的根本，所有的公民得以在議會、城邦中自由地公開發言。在聖經新約中所引用的「自由言論」則著重「直言無畏」(to speak without fear)的精神，形容門徒能公開傳道，並抵擋政府壓迫的道德勇氣。
本論文的本文共分為四章：第一章探討《紀念碑》(The Monument)中對於真理的質疑。劇中母親一角為要尋求女兒死亡的「真相」(truth)，也因此挖掘出戰爭殘忍的事實，並帶領觀眾看見所謂的「真理」(truth)，往往都是掌權者操作的手段，藉以樹立所謂的「真理」而鞏固自己權力中心的位置。第二章藉由討論《偽證之城》(The Perjured City)所呈現的政壇與醫界醜聞，披露權力的腐化會讓所有的真相完全付之一炬，因此「自由言論」實為一種政治行動，向權力說真話是需要極大的道德勇氣，因為堅持真理往往代表著要與權力相抗衡。第三章則討論《一個無政府主義者的意外死亡》(Accidental Death of an Anarchist)。長期以來諷刺喜劇常為揭露社會醜態或人性陰暗面，因此在言論自由受到極大限制的極權政體之下，諷刺喜劇可名為娛樂卻行針砭社會之實。藉由諷刺喜劇，觀眾得以得到精神的愉悅放鬆，同時也見證到社會或政治上需要改變的地方。喜劇，因此成為最具民主精神的工具。第四章則以《暮光：洛城1992》(Twilight: Los Angeles, 1992)為中心，探討劇作家先進行訪問，再將訪問搬演至劇場中，刻意製造出不同聲音的彼此對話，將劇場轉換成不同族群對話的公共空間，這虛擬的公共空間打破了族群的界限，讓不同族裔的人都得以聽見他者的聲音，劇場因此成了「自由言論」理想化的實踐處。
透過在劇場中再現史實或社會事件，觀者得以對已知事件再省或再思既有的詮釋。「自由言論」本身即是一種政治行動，代表言說者對社會的關心與參與，而劇作家利用這樣的自由，向大眾投射他們對政治現實的質疑及對公共事務的關心，更期待藉此得到更多的社會共鳴。劇場，透過「自由言論」，本身即為一種政治與社會行動，向權力及大眾發聲。
The theoretical frame of this dissertation is based on Michel Foucault’s discussion on parrhesia in ancient Greece. The plays chosen here are based on real incidents. The playwrights avail themselves of their artistic freedom to re/present the historical reality onstage, and cast a new light on the interpretations of what has been commonly accepted. Parrhesia means “to speak frankly” and “free speech,” and those who exercise parrhesia are the ones who are able to speak their mind freely in public. The right to parrhesia is a right of the citizenship in ancient Greece, which is also the basic element to constitute democracy. The citizens are free to comment on public affairs openly in the city-state. In the New Testament, parrhesia refers to “speaking without fear.” Parrhesia is often used to describe the disciples who are openly preaching the Bible and confronting the oppression from the government.
The main body of this dissertation will be divided into four parts: Chapter One is on The Monument, aiming to explore the constitution of truth. While Mother searches for the truth of her daughter’s death, the atrocities about wars are also brought to light. Moreover, Mother’s truth-questing leads the viewers to recognize that truth actually is in the hand of the powerful class. Chapter Two is on The Perjured City. By exposing the real scandal, the play reveals how the corrupt and flawed power erodes truth and humanity, which makes the act of truth-telling even more important but dangerous, because the truth-tellers may need to risk their life in confronting the powerful class when revealing the truth. Chapter Three is on Accidental Death of an Anarchist. The relationship between comedies and parrhesia is explored and discussed here. Under a dictatorship where freedom of speech is strictly limited, comedies offer a breathing space for people to embrace a lighthearted entertainment, while witnessing the comedians ridicule and satirize the folly and ugliness of the authorities at the same time. Chapter Four is on Twilight: Los Angeles, 1992. While conceiving the play, the playwright first conducts numerous interviews, and then performs these interviews onstage with the exact words of the interviewees. By bringing different and diverse voices together in the theatre, the playwright creates a public space for all racial and social groups to communicate with one another. In this public space, the racial and social boundaries are blurred, and theatre could be seen as the ideal site for materializing parrhesia.
By re/presenting the historical and social truth onstage, viewers gain the chance to re-approach the controversial issues and re-consider the ready-made interpretations. Parrhesia is a political action aiming to move people to take actions to better our world. By applying parrhesia in theatre, playwrights are actually addressing to a listening ear that would respond to their call, and show concern about public affairs.
Bibliography

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Smith, Anna Deavere. Twilight Los Angeles, 1992. New York: Anchor Books, 1993.
Wagner, Colleen. The Monument. Toronto: Playwrights Canada Press, 1993.

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B. Journals
Blanchard, Marc Eli. “The Reverse View: Greece and Greek Myths in Modern French Theatre.” Modern Drama 29 (1986): 41-48.
Cixous, Hélène. “Enter the Theatre (in between). Trans. Brian J. Mallet. Modern Drama 42 (1999): 301-314.
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Eco, Umberto. “Semiotics of Theatrical Performance.” The Drama Review 21 (1977): 107-117.
Fitzgerald, Sharon. “Anna of a Thousand Faces.” American Visions 9.5 (1994): 15-19.
Fort, Bernadette. “Theatre, History, Ethics: An Interview with Hélène Cixous on The Perjured City, or the Awakening of the Furies.” New Literary History 28.3 (1997): 425-456.
Kramer, Jane. “Bad Blood.” The New Yorker (11 Oct. 1993): 74-95.
Lewis, Barbara. “The Circle of Confusion: A Conversation with Anna Deavere Smith.” The Kenyon Review 15.4 (1993): 54-64.
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Murphet, Julian. “Identity and Difference in Anna Deavere Smith’s Performance.” Wasafiri 27 (1998): 29-33.
Reinelt, Janelle. “Performing Race: Anna Deavere Smith’s Fires in the Mirror.” Modern Drama 39 (1996): 609-617.
Sally, Banes. “Will the Real…Please Stand Up?: An Introduction to the Issue.” The Drama Review 34 (1990): 21-27.
Schechner, Richard. “Anna Deavere Smith: Acting as Incorporation.” The Drama Review 37.4 (1993): 63-64.
Sogliuzzo, A. Richard. “Dario Fo: Puppets for Proletarian Revolution.” The Drama Review 16 (1972): 71-77.
Sontag, Susan. “On Art and Consciousness.” Performing Arts Journal 2.2 (1997): 25-32.
Thompson, Debby. “Is Race a Trope?: Anna Deavere Smith and the Question of Racial Performativity.” African American Review 37.1 (2003): 127-139.
Watson, Ian. “Theatre as Social Science: A Comparative Study of Eugenio Barba’s Barter Performances and the 1992 Los Angeles Riots.” Modern Drama 39 (1996): 574-584.
Wing, Joylynn. “The Performance of Power and the Power of Performance: Rewriting the Police State in Dario Fo’s Accidental Death of an Anarchist.” Modern Drama 33 (1990): 139-149.

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