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Please use this identifier to cite or link to this item: https://dyhuir.dyhu.edu.tw/ir/handle/987654321/950

Title: 在劇場視覺中的慾望、影像與符號之間漂蕩- 拉岡精神分析觀點下的《安蒂岡尼》
Haunting between the Desire, the Image and the Sign of Theaterical Gaze- How Lacan Interprets Antigone
Authors: 吳承澤
Contributors: 經國管理暨健康學院
Date: 2012
Issue Date: 2013-06-06T02:00:57Z
Abstract: 本研究要處理的主要議題在於討論拉岡(Jacques Lacan)精神分析在戲劇批評上的應用,本研究認為相較於佛洛伊德(Sigmund Freud)理論的侷限,拉岡開拓了一種更貼近劇場視覺經驗的可能。在佛洛伊德伊底帕斯情結(Oedipus Complex) 觀點下,在戲劇批評的領域中人們將焦點放置在分析劇作家的情節設計作為其無意識狀態的反射,但也因為受限於這樣子的理論模型,此種詮釋策略較忽略觀眾在面對劇場文本演出時,被激烈挑動的無意識狀態。事實上,劇場觀眾透過在劇場中視覺的觀看,慾望流動構成了一種特別的迴路,而這樣的迴路其實可以透過拉岡精神分析理論加以探測。本文所要處理的議題有二:1.拉岡如何在討論戲劇文本時處理這個迴路。在拉岡講座的第七講《精神分析的倫理》(The Ethics of Psychoanalysis)中,拉岡討論到安蒂岡妮(Antigone)這個希臘悲劇,可做為一個有效的例子,我們關心的重點在於作為拉岡核心理論的波羅米昂結(Borromean Knot) 如何和凝視(gaze)同步,在悲劇現場觀眾的無意識結構中運作。2.透過拉岡理論的架構,本文將進ㄧ步試圖說明劇場符號作為謎樣能指(enigmatic signifier)的意義,尤其是和悲劇息息相關的滌淨效果(catharsis),如何成為一種劇場中的重要倫理功能。在謎樣能指的觀點下,滌淨效果一方面架構在視覺觀看和慾望流動之間的辨證關係,而另一方面也架構在劇場演出所具備的影像與符號的曖昧關係中產生。
This project aims at discussing the application of Lacanian psychoanalysis in the field of theatre criticism. In contrast to Freudian psychoanalysis, Lacanian psychoanalysis can explore more possibility in terms of examining the visual experience in theatre. Using the Freudian theory of the Oedipus Complex, the past theatre criticism tends to focus on the analysis of plot, which reflects the author’s unconsciousness. Restricted to such theoretical framework, the audience’s unconsciousness provoked by the performance of the dramatic work is left undiscussed. In fact, the flow of the audience’s desire forms a special circuit when they are viewing the performance of theatre. Lacanian psychoanalysis can look into the circuit of the audience’s desire effectively. There are two themes in this project. The first one is to discuss how Lacan analyzes the circuit of desire in his discussion of theatrical work. In Seminar VII: The Ethics of Psychoanalysis, Lacan rereads the Greek tragedy, Antigone, which serves as an example to show how the theories of the Borromean knot and the gaze work in the audience’s unconsciousness. Through Lacanian psychoanalytic theory, this research attempts to further examine the meaning of the theatrical sign as the enigmatic signifier. Most importantly, I would like to discuss how catharsis functions in terms of ethics in the theatre. From the perspective of the enigmatic signifier, the effect of catharsis works in the dialectical relation between the theatrical visual experience and the flow of desire on the one hand, and it works in the ambiguous relation between the image and sign in a theatrical performance on the other.
Appears in Collections:[時尚造型表演系] 國科會計畫

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