一齣自我的演出：論維德志執導克羅岱爾之《緞子鞋》

A Representation of Self: On Antoine Vitez’ Mise en Scene of Paul Claudel’s The Satin Slipper

克羅岱爾的畢生代表傑作《緞子鞋》篇幅龐大，劇情多頭並進，意義不易釐清。為避開歷來泛道德式的詮釋，而改採戲劇符號學用的「行動素模式分析」方法檢視本劇，將所有重要角色當此模式中的主體，可發現愛情和征戰為角色意志的一體兩面，意即此劇的兩大空間──愛情和征戰──只是一個幻象，所有情節都在方寸之間上演。這個分析結果不僅有助於釐清本劇複雜的結構，也印證了維德志的導演出發點，那就是征服新大陸猶如征服情人。基於此，這齣戲乍看之下為數眾多的角色其實只是同一個角色之分裂或增生，所有男性角色可視為男主角的反射，女性角色皆為女主角的反射，兩性關係遂出現一致化的模式。夏佑製作最凸出的一點，就是未將征戰異教徒處理成感情受挫的出路，而是將其轉換為主角陷入愛慾及自我超越之間的搏鬥，換句話說，這是「一齣自我的演出」，完美達成作者希望藉由此作自我告白和自我隱藏的矛盾目標。

Paul Claudel’s masterpiece The Satin Slipper (Le soulier de satin) is a huge work with multiple story lines, the meanings of which are not easy to understand. To avoid the moral interpretations of this work, this article uses actantial model of theatre semiotics to analyze the plot and finds out that love and conquest are two sides of the will of all important characters. In other words, the two spaces of this saga—love and conquest—is nothing but an illusion; all dramatic actions actually happen in the heart of the hero Rodrigue. This result helps not only clarify the complex plot, but also confirms the position of Vitez’ mise en scène; i.e. the conquest of the world is equal to the conquest of the beloved. As a consequence, the numerous roles of the Satin Slipper are actually the division or proliferation of the same character; all male characters can be regarded as the reflection of the hero, while the female characters are the reflections of the heroine. The relationship between the two sexes thereby reveals a consistent model. The prominent point of the production of National Chaillot Theatre is that it did not perform the conquest as a way out of emotional frustration, but instead a struggle between erotic desire and self-transcendence. That’s why this mise en scène is “a representation of Self”, through which Vitez has perfectly fulfilled Claudel’s paradoxical goal of self-confession and self-concealment.