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A Discourse Analysis of Gao Xingjian's Play Snow in August=高行健劇作《八月雪》的話語分析 |
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Ou-yang, Yi-jang (著)=歐陽宜璋 (au.)
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| Source |
8th International Association for Semiotic Studies=第8屆國際符號學會議論文集
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| Date | 2005.03 |
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| Publisher | 法國里昂大學 |
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| Publisher Url |
http://www.universite-lyon.fr/
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| Location | Lyon, France [里昂, 法國] |
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| Content type | 會議論文=Proceeding Article |
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| Language | 中文=Chinese; 英文=English |
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| Note | 發表於2004.7.法國里昂國際符號學會議 |
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| Keyword | Snow in August=八月雪; 現代禪劇; 功能語法; 銜接照應; Zen=禪; 高行健; cohesion; dialogue and action; Hallidayan discourse analysis |
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| Abstract | An ideal theatre about a Zen story by Gao Xingjian is his Snow in August. A discourse analysis of this play tells a genre of the drama per se. The analytical steps are as follows: first, to describe the Functional Grammar of the semiotic system; second, to analyze the cohesion of conversations and actions; and lastly, to observe the stylistics of the whole work and of the author. The analysis of the work Snow in August focuses on the text and then discusses such supplementary materials as actors, music and the production concepts, so as to create a clear field of observations. We can thus gradually establish a bridge between Gao and the Eastern and Western cultures. Gao Xingjian (AD. 1940~), winner of the 2000 Nobel Prize for Literature, has written many plays with a Zen atmosphere during the past 10 years. Huineng (AD. 638-713), central character of his latest play Snow in August (1997 in Paris) , founded Zen. In December 2002, Snow in August was performed for the first time in Taipei; it was then performed around the world. It has become Gao’s ideal theatre. He has said, “My aim is to create a new and contemporary musical theatre based on the foundations of Eastern traditional drama, an omnipotent theatre of singing, movement, dialogue, and the martial arts.” Because the dialogues and actions are necessary parts of a play, we can hear and watch the whole story by imagination through the description of the script, so a discourse analysis is essential for the text and the drama. This paper will use discourse analysis methods to investigate first the denotation and then the connotation of this special work.
諾貝爾文學獎得主高行健的實驗劇作《八月雪》，改寫自六祖慧能的傳奇故事，是作者心目中全能戲劇的體現。此劇的構思有其濃厚的象微寓意，也表現出作者一貫的創作精神。作為高行健的人格碑石──精神囚徒的逃亡是飛昇的唯一途徑；在逃亡中，可以得到人生的大自在。論文中，符號學的象徵意象捕捉，是透過語篇分析體現的。經由劇作中代表性之句式和用詞的分析，作者的敘述轉化為功能語法的系統理解和象徵式的符號學模式。而除了呈現劇作的外在啣接性外，也經由慧能－作者，無盡意－歌伎等的二分概念，探測其內在的戲劇張力與言外之意──一種遠超過「實驗性」的內在特質。品賞此一劇作風格，哲思於焉萌生，或亦即另一種禪之解讀。
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| Hits | 1690 |
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| Created date | 2010.06.30 |
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| Modified date | 2015.08.17 |
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