李易修「超神話」二部曲研究

Abstract

中國傳統神話人物為劇場借用及發揚的作品所在多有，例如符宏征的《英雄密碼》、王榮裕的《山海經》及吳興國的《女神．西王母》等。在此之列，李易修的「超神話」二部曲（《大神魃‧世界之夢》、《蓬萊》）以《山海經》的女神旱魃、刑天為主角，首部曲講述旱魃見棄於神與人，流離轉徙，歷經自我探尋終能回歸的歷程，二部曲以刑天之眼，描繪崑崙眾神相互爭鬥的神國黃昏，揭示爭名逐利背後隱含的重要價值。異於過往作品發揚舊有神話故事精神的習慣，新編故事除了重新詮釋角色內涵，改寫故事走向，更鎔鑄泉州腔台語、客家話、廣東話及蘇州話四種方言，創造新的神國語言。由於語言的殊異性及跳躍的敘事手法，觀眾不致全然陷入戲劇幻象，而能保有後設思考的空間，與自我生命經驗相映照。

本文嘗試以弘比（Richard Hornby）Drama, Metadrama, and Perception提出的後設戲劇技巧：戲中戲、戲中儀典、角色的角色扮演、文學與真實人生的指涉、自我指涉，分析「超神話」二部曲對於原文本《山海經》的繼承及創新之處，並以坎伯（Joseph Campbell）的英雄之旅檢視人物的成長歷程。除此之外，筆者將「心」視為系列作的內在主題，試由唐君毅詮釋的孟子道德心釋之，並關照於舞台美術方面，討論王船、面具等設計對於補充作品的宇宙論的助益。

最後，經過上述理論分析及田野調查，筆者將以劇場人類學為進路，淺析數部近十年間的神話劇作，試圖從中觀察現代神話承先啟後之處，以及作品對於當代社會的啟示，藉此梳理現代神話劇場可能帶有的批評觀點，思考劇場應該帶給觀眾的刺激與想像。There are many works in which traditional Chinese mythological figures have been borrowed and developed for the theater, such as The Hero's Code directed by Hong-Jheng Fu, The Classic of Mountains and Seas by Rong-Yu Wang and The Goddess of the West-- Queen Mother of the West by Sing-Guo Wu. Among these kind of works, Yi-Hsiu Lee created “Hyper Myth” Duology (including The Drought Goddess and Isle of Dreams), choosing the drought goddesses Han-pa and the god of war Xing-tian from Shanhaijing( also known as Classic of Mountains and Seas) as the main characters. The first episode tells of Han-pa's abandonment of both gods and men,her displacement, and her return to the world after a journey of self-exploration. The second episode, through Xing-tian's eyes, depicts the twilight of a divine kingdom where the gods of Kun-lun are in a fight with each other, and reveals the virtues behind the competition for fame and fortune.

Different from previous works from the same genre, which often develop the spirit of classical mythology, the duology reinterpret the characters, rewrite the myth, and combine four dialects: Quanzhou Taiwanese, Hakka, Cantonese, and Suzhou dialect to create a new language of Gods. Affected by the techniques of linguisticdifferences and nonlinear storytelling, the audience will not be caught up in the illusion of the drama, and will be able to reflect on their own life experiences.This essay attempts to analyze the inheritance and innovation of the “Hyper Myth” Duology from the original text of Shanhaijing by using Richard Hornby's post-dramatic techniques in Drama, Metadrama, and Perception: drama within a drama, rituals within a drama, role-playing, references to literature and real life, and self-references, as well as the hero's journey in Joseph Campbell's The Hero's Journey to interpret the character's growth. In addition, “heart” is regarded as the intrinsic theme in this essay, which will be analyzed through Chun-i Tang’s interpretation of Mencius' Moral Heart. Besides, the essay will discuss how the design of the king boat and the masks benefits the cosmology of the work.Finally, after the above theoretical analysis and fieldwork, the author will use theater anthropology as a way to analyze several mythological plays in the past ten years, in an attempt to observe the precedence and continuity of modern myths, as well as the revelation of the works to the contemporary society, so as to sort out the critical perspectives of modern mythological theater, thinking about the stimulation and imagination that theater should bring to the audience.