音樂劇《酒館秀》中疏離效果之探究

Abstract

百老匯音樂劇《酒館秀》於1966年展開首演，共演出1165場，成為哈洛德．普林斯（Harold Prince）經典成名作，此劇不單陳述豐厚的德國政黨歷史，更是影射出60年代美國社會的政治動盪與人權意識形態。布萊希特辯證劇場以馬克思唯物主義行改變社會之實，挑戰觀眾視角產生思辯並民智啟迪，馬克思異化論所演化成的「疏離效果」，正呼應本研究析探此音樂劇目的：1.確立該劇使用「疏離效果」手法達到其辯證效用，2.再者從中探究該劇疏離詮釋型態是否受布萊希特影響，3.析論該劇與布萊希特劇作《勇氣媽媽與她的孩子》兩者中辯證效應之異同。本研究第一部分先以「文獻分析法」著手，蒐集國內外文獻資料及對布萊希特「疏離效果」手法進行分類，再以布萊希特疏離類別對《酒館秀》該劇情及曲目進行疏離初探。研究第二部分針對《酒館秀》非文字文本之舞蹈及表演肢體、空間調度、音樂類型等，將疏離風格元素重新劃分三大類別，以做出非文字文本更詳盡的疏離手法歸納。明瞭其表現方式及目的，並使用「風格化宏觀結構分析法」整合轉化為「《酒館秀》疏離效果風格化之特徵元素表」，探究其三類別元素細項之詮演型態運用與功能。本研究第三部分使用「辯證法」，針對《酒館秀》與布萊希特劇作《勇氣媽媽與她的孩子》進行兩劇正、反、合議題之分析比較與寓意反思，探討是否皆同樣具有其娛樂與教育辯證性，得出兩劇其疏離傳遞目的之共同核心理念。音樂劇《酒館秀》與布萊希特「疏離效果」，具有相似的風格與手法使用，同以劇場行其辯證效應，激盪觀看者社會大眾意識之共鳴。《酒館秀》更是融入美國百老匯音樂劇之風情文化，加以兼具娛樂性與教育性意義，甚為有效達其社會議題高度矚目與重視，行寓意傳遞之思辨啟迪。The Broadway musical play Cabaret premiered in 1966. With 1,165 performances, it has become one of Harold Prince’s classical masterpieces. In addition to narrating the German party’s extensive history, the play alludes to 1960s American society’s political unrest and human rights struggles. Based on the fact that Marx’s materialism had changed society, Bertolt Brecht’s Dialectic Theatre challenged the audiences’ perspective in generating speculation and enlightenment. The V-Effect, which evolved from Marx’s theory of alienation, are consistent with the study objective of analyzing this musical in: 1) determining whether the play has achieved its dialectical effect through the techniques of the V-Effect; 2) by investigating whether its style of alienation interpretation has been affected by Bertolt Brecht; 3) and by analyzing the differences and similarities of the dialectic effects between this play and Mother Courage and Her Children.The first part of this study concerns the collected domestic and foreign literature and classifies Bertolt Brecht’s V-Effect techniques through documentary analysis. It then explored the alienation of Cabaret’s plot and musical numbers, based upon Bertolt Brecht’s alienation types. For dimensions other than that regarding the script of Cabaret – such as dance/physical performance, space arrangement, and music genres – the second part of the study re-divided the alienation genre elements into three main categories (according to these dimensions) in order to summarize more detailed alienation techniques for dimensions applicable to mediums other than scripts, to understand their expression methods and objectives, and to use “Stylistic Macrostructural Analysis.” This re-division was conducted in service of efforts to collectively convert these elements into a “Glossary of Stylistic Features of Cabaret” so as to investigate the performance type applications and functions of the elements across the three categories. Using the dialectical principle, the third part of this study analyzed and reflected the thesis, antithesis, and synthesis of both Cabaret and Mother Courage and Her Children, thereby investigating whether both are entertaining and dialectically educational and identifying the mutual core concepts of their alienation expression objectives.The musical play Cabaret and Bertolt Brecht’s V-Effect share similar styles and techniques. Both express their dialectical effects in theatres and resonate with the audiences via social consciousness. Cabaret also incorporated the culture and customs of the USA’s Broadway musical plays, making them both entertaining and educational, resulting in the attraction of social attention and being able to convey thoughtful inspiration.