| 摘要: | 相較於悲劇，喜劇的價值一直是被認為比較低下或被忽略的。這些現象可見於評論家與觀眾。原因主要來自於兩方面。一部分來自於喜劇作品本身看似缺點的特質：題材瑣碎、缺乏嚴肅性；對話不夠細緻、深刻性不足；人物主要為充滿各種缺陷(包括道德、感情與智力等)之社會小人物。一部分則來自於舞台呈現效果：喜劇所引起的《笑》應常容易驅散觀者的批評意識，因而非刻意性地掩蓋了劇中潛藏的深刻意義，導致觀者忽略喜劇中可能具有的一些，嚴肅且複雜的面向。從這個觀點來看，喜劇應當還有許多被忽略的價值需要，並值得進一步的研究。本研究計畫的主旨便在呈現對喜劇新的閱讀與了解，以便扭轉這些對於喜劇的狹隘、偏頗的認知。要達此目的，計畫藉由對不同時期或不同類型西方喜劇性人物的研究。要強調的是，這裡所謂的喜劇性人物，並不一定是傳統定義下的喜劇中的人物。而是包括可引起笑應的戲劇人物。並且所謂的笑應，也並非是一定能引起觀者笑聲。研究對象中某部分的喜劇性人物所因起的笑應，可能僅止於荒謬或瘋狂的不認同感，甚至不於愉快的經驗。此研究計畫特別要呈現這些人物的喜劇性特質—內心的複雜或無意識矛盾心理結構，與對所處社會文明或道德價值觀等產生不適有緊密關聯。其中包括研究各種喜劇性語言的特殊結構：諷刺(Satire)、反諷(Irony)、滑稽模仿(Parody)、幽默(Humor)等。藉以說明喜劇人物並非單純是劇作家用來批判社會或人性的空心魁儡道具，或單面向的人。並且，他並非僅是某種類型人物(一種人類集體代表)，也可以是個特殊的個體。如果《笑》在傳統上代表：醜的面貌、惡魔力量與缺乏深度，本研究試圖以美學、哲學與心理學的角度反思這些認知的可能謬誤。並預計藉此顯現喜劇性人物潛在的多元研究價值。這個研究主要將分三個階段進行。第一年的研究對象為荒謬劇中的喜劇性人物 (包括波蘭作家Mrozek 的作品《Tango》)；第二年為浪漫時期作家所創之喜劇性人物(例如：畢希納(Georg Buchner)《Woyzeck》, 克來伊斯特(Kleist)；第三年則為法國喜劇作家馬里伏(Marivaux)與莫里哀(Moliere)的代表劇作(例如：《想像的疾病》《厭世者》《唐璜》)。藉此整合比較研究以同時呈現喜劇人物之創造，因文明變遷所致的歷史演變。
A esthetic, philosophical and psychological study of the comic characters in western drama： from Molière to Slawomir Mrozek Compare to tragedy, comedy is often undervalued not only by spectators but also by critics. This is probably due to some “bad” characteristics of comedy. The character in comedy is usually represented by citizen of low social class. He is a kind of person full of moral faults, lack of sensation and intelligence. Le subject of comedy is often trivial and therefore is not serious enough to attach important consideration. As to the dialogue, in comedy, it is not as refined as that of tragedy. But the ignorance about the true value of comedy comes partly from the comic effect in the stage. The laughs could dissipate our sense of critic and mask the real or the concealed issue of comedy. From this point of view, the comedy is underdeveloped and is underestimated. It needs and deserves a study more thoroughly. This project of research aims to provide a new understanding of comedy. To do this, we try to reveal multiple invisible sides de comedy and to look for its potential value. Precisely, we aim to analyze various types of comedian of different historical periods— they are not a man of one dimension, but a contradictory living creature. Their identity could not only be collective, but individual also. Also the so-called comedian is not limited to comedy, but including any personage who can arise comic effect. Besides, the comic effect does not necessarily mean making laugh. On the contrary, it could be displeasing arose by character’s ridiculous or insane behaviorsbound to his discomfort and his unconsciousness. We expect to analyze also the characteristics of comic languages: satire, irony, parody and humor. As to our research approach, it contains tree aspects: esthetic, psychological and philosophical. This study will be divided in tree steps. For the first year, we begin with the comic characters in the theatre of absurd, including Mrozek’s 《Tango》. For the second year, the romanticism play will be our filed of investigation, including Georg Buchner’s《Woyzeck》, Kleist’s 《La cruche cassée》and Musset. As for the third year, the French comedists, especially, Molière and Marivaux, will be our main interests. Finally, by comparing the various comic characters of different styles, we hope also to analyze the historical evolution of comedian in the western drama mainly due to the shit of civilization. |
