Navigating between Shakespeare and Jingju: Wu Hsing-Kuo's Li Er Zaici__臺灣人文及社會科學引文索引資料庫

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題名：	Navigating between Shakespeare and Jingju: Wu Hsing-Kuo's Li Er Zaici
書刊名：	Tamkang Review
作者：	Liang, Lia Wen-ching
出版日期：	2014
卷期：	45:1
頁次：	頁131-149
主題關鍵詞：	跨文化劇場；莎士比亞；李爾王；德勒茲與瓜達希；聚合；當代傳奇劇場；Intercultural theatre；Shakespeare；King Lear；Deleuze and Guattari；Assemblage；Contemporary Legend Theatre
原始連結：	連回原系統網址
相關次數：	被引用次數:期刊(0) 博士論文(0) 專書(0) 專書論文(0) 排除自我引用:0 共同引用:3 點閱:15

本文運用法國哲學家德勒茲與瓜達希發展出的概念，以當代傳奇劇場《李爾在此》為例，探討跨文化劇場中之政治性。《李爾在此》為當代傳奇劇場藝術總監吳興國編導演之作品，吳興國在作品裡跨越行當的限制，一人擔任十個角色的演出。學者已經指出，吳興國的個人面向影響此作極深，尤其反應吳興國與其師父之間的關係；然而，除了對照藝術家的個人經驗之外，此作亦開展其他的閱讀可能性。德勒茲與瓜達希的概念，對舞台再現性與文化認同之間的連結提出質疑，並有助於理解跨文化劇場展演脈絡中的政治性；以此閱讀《李爾在此》，則可觀察出，作品中對於京劇藝術以及莎士比亞《李爾王》演出史的去領域化。

以文找文

This article discusses ＂Li Er Zaici＂, a performance created by Taiwanese actor Wu Hsing-Kuo, the artistic director of the Contemporary Legend Theatre. In this production Wu performs ten characters from Shakespeare's ＂King Lear＂ in three acts, drawing on performing styles and techniques from the ＂jingju＂ (Peking Opera) tradition. This internationally touring production offers an example of the dilemmas encountered by many intercultural theatre performances that explore the possibilities of mingling different cultural elements. Several scholars have discussed the personal dimension of this production, suggesting that it can be seen as the artist's attempt to reconcile with his mentor, who severed their relationship because of Wu's desire to step out of the confines of the tradition. Drawing on concepts proposed by Gilles Deleuze and Félix Guattari, which raise questions about taken-forgranted assumptions about onstage performance and cultural representation, this paper calls for a reconsideration of the presumed link between ＂jingju＂ and Chinese cultural identity. I argue that, reflective of the affliction brought upon by the modern situation, Wu's response was more a complication than a straightforward answer. From this perspective, Wu's rendition produces deterritorialisations of both the traditional confines of ＂jingju＂ and the staging history of ＂King Lear＂, and opens up new possibilities in both fields.

以文找文

期刊論文
1.	Fortier, Mark(1996)。Shakespeare as 'Minor Theater': Deleuze and Guattari and the Aims of Adaptation。Mosaic，29(1)，1-18。
2.	Huang, C. Y. Alexander(2006)。Shakespeare, Performance, and Autobiographical Interventions。Shakespeare Bulletin，24(2)，31-47。
3.	Kowsar, Mohammad(1986)。Deleuze on Theatre: A Case Study of Carmelo Bene's Richard III。Theatre Journal，38(1)，19-33。
4.	Liang, Lia Wen-Ching(2009)。Negotiating New Terrains: Yellow Earth Theatre's Lear's Daughters and King Lear。Contemporary Theatre Review，19(3)，289-297。
5.	Papastergiadis, Nikos(2005)。Hybridity and Ambivalence: Places and Flows in Contemporary Art and Culture。Theory, Culture and Society，22(4)，39-64。
6.	Puchner, Martin(2002)。The Theater in Modernist Thought。New Literary History，33(3)，521-532。
7.	Tompkins, Joanne(2010)。The Politics of Location in Othello, Djanet Sears's Harlem Duet, and Ong Keng Sen's Desdemona。Contemporary Theatre Review，19(3)，269-278。
8.	Bharucha, Rustom(2004)。Foreign Asia/Foreign Shakespeare: Dissenting Notes on New Asian Interculturality, Postcoloniality, and Recolonization。Theatre Journal，56(1)，1-28。
9.	Lo, Jacqueline、Gilbert, Helen(2002)。Toward a Topography of Cross-Cultural Theatre Praxis。The Drama Review，46(3)，31-53。
10.	Sullivan, Jonathan、Lowe, Will(201009)。Chen Shui-bian: On Independence。The China Quarterly，203，619-638。
11.	雷碧琦(20080100)。Vision and Revision of Filial Piety: Analogues and Adaptations of King Lear in Chinese Opera。戲劇研究，1，253-282。
12.	Li, Ruru(2006)。'Who Is It That Can Tell Me Who I Am?/'Lear's Shadow': A Taiwanese Actor's Personal Response to 'King Lear'。Shakespeare Quarterly，57(2)，195-215。

圖書
1.	Guy, Nancy A.(2005)。Peking Opera and Politics in Taiwan。University of Illinois Press。
2.	Swatek, Catherine C.(2002)。Peony Pavilion Onstage: Four Centuries in the Career of a Chinese Drama。Ann Arbor, MI：Center for Chinese Studies, University of Michigan。
3.	Huang, Alexander C. Y.(2009)。Chinese Shakespeares: Two Centuries of Cultural Exchange。Columbia University Press。
4.	Kennedy, Dennis(1993)。Foreign Shakespeare: Contemporary Performance。Cambridge University Press。
5.	Li, Ruru(2003)。Shashibiya: Staging Shakespeare in China。Hong Kong University Press。
6.	Auslander, Philip(2008)。Liveness: Performance in a Mediatized Culture。Routledge。
7.	Bond, Edward(1972)。Lear。London：Eyre Methuen。
8.	Brown, John Russell(1999)。New Sites for Shakespeare: Theatre, the Audience and Asia。London：Routledge。
9.	Cull, Laura(2009)。Deleuze and Performance。Edinburgh：Edinburgh UP。
10.	Cull, Laura(2012)。Theatres of Immanence: Deleuze and the Ethics of Performance。Basingstoke：Palgrave Macmillan。
11.	Flaxman, Gregory(2000)。The Brain is the Screen: Deleuze and the Philosophy of Cinema。Minneapolis, MN：University of Minnesota Press。
12.	Grehan, Helena(2001)。Mapping Cultural Identity in Contemporary Australian Performances。Brussels：Peter Lang。
13.	Holledge, Julie、Tompkins, Joanne(2000)。Womens Intercultural Performance。London：Routledge。
14.	Lear, King(1986)。Souvenir Programme。Contemporary Legend Theatre。
15.	Lei, Bi-qi Beatrice、Perng, Ching-Hsi(2012)。Shakespeare in Culture。Taipei：National Taiwan UP。
16.	Lei, Daphne(2011)。Alternative Chinese Opera in the Age of Globalization: Performing Zero。Hound-mills：Palgrave Macmillan。
17.	Massai, Sonia(2005)。World-Wide Shakespeares: Local Appropriations in Film and Performance。London：Routledge。
18.	Moslund, Sten Pultz(2010)。Migration Literature and Hybridity: The Different Speeds of Transcultural Changes。Houndmills：Palgrave Macmillan。
19.	Olkowski, Dorothea(1998)。Gilles Deleuze and the Ruin of Representation。Berkeley：U of California P。
20.	O'Sullivan, Simon(2005)。Art Encounters Deleuze and Guattari: Thought Beyond Representation。Houndmills：Palgrave Macmillan。
21.	Puchner, Martin(2010)。The Drama of Ideas。Oxford：Oxford UP。
22.	Sasayama, Takashi、Mulryne, Ronnie、Shewring, Margaret(1998)。Shakespeare and the Japanese Stage。Cambridge：Cambridge UP。
23.	Tuan, Iris Hsin-Chun(2007)。Alternative Theater in Taiwan: Feminist and Intercultural Approaches。Youngstown：Cambria。
24.	Bristol, Michael D.(1996)。Big-Time Shakespeare。London：Routledge。
25.	Patton, Paul(2000)。Deleuze and the Political。London。
26.	Lei, Daphne Pi-Wei(2006)。Operatic China: Staging Chinese Identity across the Pacific。New York：Palgrave Macmillan。
27.	Deleuze, Gilles、Guattari, Félix、Massumi, Brian(1988)。A Thousand Plateaus: Capitalism and Schizophrenia。Inneapolis：University of Minnesota Press。
28.	Rodowick, D. N.(1997)。Gilles Deleuze's Time Machine。Duke University Press。
29.	Pavis, Patrice(1992)。Theatre at the Crossroads of Culture。Routledge。
30.	Deleuze, Gilles、Guattari, Félix、Polan, Dana、Bensmaïa, Réda(1986)。Kafka: Toward a Minor Literature。University of Minnesota Press。
31.	Schechner, Richard(2006)。Performance Studies: An Introduction。New York：London：Routledge。
32.	Colebrook, Claire(2002)。Gilles Deleuze。Routledge。
33.	Deleuze, Gilles、Patton, Paul(1994)。Difference and Repetition。Columbia University Press。
34.	Ansell-Pearson, Keith(1999)。Germinal Life: The Difference and Repetition of Deleuze。London：Routledge。
35.	Sun, Emily(2010)。Succeeding King Lear: Literature, Exposure, and the Possibility of Politics。New York：Fordham UP。

其他
1.	Lear, King(2007)。Dir. Wu Hsing-kuo，Contemporary Legend Theatre。
2.	Wu, Hsing-Kuo(20070710)。Director's Note，New York：Playbill。

圖書論文
1.	Carlson, Marvin(1991)。Brook and Mnouchkine: Passages to India?。Peter Brook and the Mahabharata: Critical Perspectives。London。
2.	Deleuze, Gilles(1997)。One Less Manifesto。Mimesis, Masochism, and Mime: The Politics of Theatricality in Contemporary France。Ann Arbor：U of Michigan P。
3.	Feinstein, Elaine、The Women's Theatre Group(2000)。Lear's Daughters。Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present。London：New York：Routledge。
4.	Lo, Jacqueline(2000)。Beyond Happy Hybridity: Performing Asian-Australian Identities。Alter/Asians: Asian-Australian Identities in Art, Media and Popular Culture。Annandale。
5.	Fischer-Lichte, Erika(1996)。Interculturalism in Contemporary Theatre。The Intercultural Performance Reader。Routledge。
6.	Pavis, Patrice(1996)。Introduction: Towards a Theory of Interculturalism in Theatre?。The Intercultural Performance Reader。Routledge。
7.	Bharucha, Rustom(1996)。Somebody's Other: Disorientations in the Cultural Politics of Our Times。The Intercultural Performance Reader。London：Routledge。

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