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課程名稱 |
理論亞陶
Theorizing Artaud |
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開課學期 |
103-1 |
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授課對象 |
文學院 戲劇學研究所 |
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授課教師 |
林于湘 |
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課號 |
Thea8201 |
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課程識別碼 |
129 D1050 |
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班次 |
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學分 |
3 |
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全/半年 |
半年 |
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必/選修 |
選修 |
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上課時間 |
星期一2,3,4(9:10~12:10) |
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上課地點 |
總一館208 |
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備註 |
本課程中文授課,使用英文教科書。本課程為博士班討論課，不開放旁聽。
限碩士班以上
總人數上限：8人 |
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課程簡介影片 |
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核心能力關聯 |
核心能力與課程規劃關聯圖 |
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課程大綱
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為確保您我的權利,請尊重智慧財產權及不得非法影印
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課程概述 |
對亞陶其人、其創作、其理論及時人批評的深度閱讀、解析。同時亦藉由「亞陶學」 (「亞陶詮釋學」)，來重讀後現代理論的幾個觀照。 |
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課程目標 |
對亞陶其人、其創作、其理論及時人批評的深度閱讀、解析。同時亦藉由「亞陶學」 (「亞陶詮釋學」)，來重讀後現代理論的幾個觀照。 |
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課程要求 |
(1) 本課程不開放旁聽。
(2) 本課程為博士班討論課。
(3) 博士班課程已為學術養成之最高階段，講究的是絕對自主、自發、自律而嚴謹的學術原則與學術態度。因此，本課不再針對缺席、遲到、請假、曠課等另立瑣碎的規範。惟希望同學切記，準時出席每堂課是為必須，它代表了選課者對自我、對課堂、對主授教師，願意付出最起碼的尊重與承諾。
(4) 11/3該天停課一次。全班同學改為一律出席11/8-11/9的「臺大劇場研討會」做為替代。
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預期每週課後學習時數 |
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Office Hours |
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指定閱讀 |
(1) Derrida, Jacques. Writing and Difference. London: Routledge, 1978: 169-195, 232-250. (Weeks 10, 11, 12, 13) (收錄於麥田出版《書寫與差異》裡的兩篇中譯文章，分別為：＜殘酷劇場與表象的關閉＞，頁458-491。＜被劫持的語言＞，頁346-396。)
(2) Artaud, Antonin. The Theatre and Its Double. New York: Grove, 1958. (Weeks 3, 4, 5) (劉俐譯：《劇場及其複象》，臺北：聯經出版，2003年)
(3) ______. The Cenci. Translated by Simon Watson Taylor. New York: Grove Press, 1970. (Weeks 6, 7)
(4) ______.Heliogabalus, or The Crowned Anarchist. Translated by Alexis Lykiard. New York: Creation Books, 2003. (Weeks 14, 15, 16, 17)
(5) ______. “The Spurt of Blood,” in Artaud on Theatre. Chicago: Ivan R. Dee, 2001: 19-22. (Week 6)
(6) Barber, Stephen. Blows and Bombs: Antonin Artaud: The Biography. London: Creation Books, 2003. (Week 2)
(7) Esslin, Martin. Antonin Artaud. London: John Calder, 1976. (Week 2)
(8) 蘇珊桑塔格著，姚君偉譯：〈走近亞陶〉，《土星座下》，臺北：麥田出版，2007年，頁25-102。(Weeks 8, 9)。(此篇中譯論文亦是桑塔格主編的《亞陶文選》Selected Writings一書的＜序言＞)
(9) Deleuze, Gilles. “Thirteenth Series of the Schizophrenic and the Little Girl,” in Antonin Artaud: A Critical Reader. Edited by Edward Scheer. London: Routledge, 2004: 27-36. (Week 8)
(10) Kristeva, Julia. “From The Subject in Process,” in Antonin Artaud: A Critical Reader. Edited by Edward Scheer. London: Routledge, 2004: 116-124. (Week 8) |
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參考書目 |
(1) Artaud, Antonin.Selected Writings. Edited by Susan Sontag. New York: Farrar, Straus, and Giroux, 1976.
(2) Schumacher, Claude, ed. Artaud on Theatre. Chicago: Ivan R. Dee, 2001.
(3) Derrida, Jacques and Paule Thevenin. The Secret Art of Antonin Artaud. Translated by Mary Ann Caws. Cambridge: The MIT Press, 1998.
(4) 羅伊波特著，巫毓筌譯：《瘋狂簡史》，臺北：左岸文化出版，2004年。
(5) 蘇珊桑塔格著，程巍譯：《疾病的隱喻》，臺北：麥田出版，2012年。
(6) Carlson, Marvin. Theories of the Theatre: A Historical and Critical Survey, from the Greeks to the Present. Ithaca: Cornell University Press, 1984: 376-516.
(7) Wilson, Edwin, and Alvin Goldfarb. Living Theatre: History of Theatre (Sixth Edition). New York: McGraw-Hill, 2012.
(8) Brockett, Oscar G., and Franklin J. Hildy. History of the Theatre (Tenth Edition). Boston: Pearson, 2008.
(9) 林于湘：＜再探亞陶殘酷劇場：「演繹理論」與「理論表演」之辯證＞，《戲劇研究學報》第13期 (2014年1月)，頁175-220。
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評量方式
(僅供參考) |
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No. |
項目 |
百分比 |
說明 |
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1. |
Oral Reports★ (each student for 6 times) |
50% |
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2. |
Final Paper |
50% |
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週次 |
日期 |
單元主題 |
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第1週 |
9/15 |
(1) Course Introduction
(2) The 1st Contextualization: Artaud that we “vaguely” knew as described in the “convention” of western theatre history and theatre theory |
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第2週 |
9/22 |
(1) Artaud the Man
(2) Confusion and Experiment:
Artaud “before” the 1931 Paris Colonial Exhibition (Multiple Theatre-Related Attempts and Experience)
(3) Quest and Pilgrimage:
Artaud “after” the Balinese Dance Theatre
(4) a brief introduction to the Balinese Dance Theatre |
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第3週 |
9/29 |
Artaud’s Theory: The Theatre and Its Double (I) (pp. 1-54)★ |
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第4週 |
10/06 |
Artaud’s Theory: The Theatre and Its Double (II) (pp. 55-111)★ |
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第5週 |
10/13 |
Artaud’s Theory: The Theatre and Its Double (III) (pp. 113-172)★ |
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第6週 |
10/20 |
Practice and Manifestation:
(1) Artaud’s Play/Stage Production: The Spurt of Blood★
(2) Artaud’s Play/Stage Production: The Cenci (Acts I~II)★
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第7週 |
10/27 |
Artaud’s Play/Stage Production: The Cenci (Acts III-IV)★ |
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第8週 |
11/03 |
The 2nd Contextualization:
(1) Controversy:
Julia Kristeva’s Criticsm on Artaud (pp. 116-124)★
(2) Controversy:
Gilles Deleuze’s Criticism on Artaud (pp. 27-36)★ |
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第9週 |
11/10 |
Controversy:
Susan Sontag’s Criticism on Artaud (pp. 26-102)★ |
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第10週 |
11/17 |
Controversy:
Derrida’s Criticism on Artaud: “The Theatre of Cruelty and the Closure of Representation” (I) (pp. 458-491)★ |
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第11週 |
11/24 |
Derrida’s Criticism on Artaud: “The Theatre of Cruelty and the Closure of Representation” (II) |
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第12週 |
12/01 |
Derrida’s Criticism on Artaud: “La Parole Soufflee” (I) (pp. 346-396)★ |
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第13週 |
12/08 |
Derrida’s Criticism on Artaud: “La Parole Soufflee” (II) |
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第14週 |
12/15 |
Later Writing: Artaud’s novel: Heliogabalus (chapter I)★ |
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第15週 |
12/22 |
(1) Artaud’s novel: Heliogabalus (chapter II)★
(2) Each student gives a 10-minute presentation on your final project with feedbacks from your colleagues and me★
--topic (including an illustration of your research motivation and how “original” and “necessarily important” your study will be)
--major argument
--methodology
--bibliography (including a coverage of the “classic” resources and the most up-to-date resources in a certain field that your research topic explores; plus, the trajectory of scholarship*) |
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第16週 |
12/29 |
Artaud’s novel: Heliogabalus (chapter III)★ |
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第17週 |
1/05 |
Artaud’s novel: Heliogabalus (chapter III)★ |
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第18週 |
1/12 |
Subject/theme of your final paper:
Artaud’s Influence/Legacy
(1) Term paper due on midnight Sunday of the week
(2) should be submitted in hard copy, and put in my mail box
(3) 10,000 words required as a minimum, yet no longer than 12,000 words; should be written in Chinese, or well-polished English |
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