※ [本文轉錄自 NTU03DFLL 看板]
作者: elishading () 看板: NTU03DFLL
標題: [公告] 國立臺灣大學外國語文學系學術演講
時間: Fri Nov 24 13:35:29 2006
國立臺灣大學外國語文學系學術演講
DFLL Faculty Colloquium
Samuel Beckett in Taiwan:
Cross-cultural Innovations and Significance
Speaker: Dr. Wei H. Kao (DFLL
Assistant Professor)
（臺大外文系高維泓助理教授）
Time: 3:30 ~ 5:00 pm,
Wednesday, December 6, 2006
（2006年
12月6日週三下午3:30-5:00）
Venue: DFLL New Conference
Room, 1F Old Main Library
（臺大舊
總圖一樓外文系新會議室）
Abstract:
One of the controversies in Beckettian studies is whether his Irishness is
discernible in his drama, much of which was first written in French. Although
the debate remains unsettled, researchers, including Vivian Mercier, Sighle
Kennedy, and Eoin O’Brien, have argued that the playwright presented humour
and satire dear to the Anglo-Irish mind, which Jonathan Swift and Oscar Wilde
had previously utilised to tackle Irish and British issues in a cynical tone.
In the view of these critics, Beckett, succeeding to this satirical tradition
and having been an exile to the European mainland, like James Joyce and many
of his Irish contemporaries, renovated this tradition by utilising minimalism
and absurdism. A number of critics have thus endeavoured to unearth the
playwright’s disillusion about, or criticism of, religion, life, and
politics in his most obscure art. More specifically, his sense of Irishness
was re-characterised in his works, no longer confined to the highly
politicized and insular definition agreeable to local activists. To more
accurately elaborate how Beckett’s Irishness has created a dialogic platform
for the Irish and the world theatre, this paper will exemplify the way in
which Taiwan’s theatre groups have adapted and contextualized his plays in a
post-modern Asian society which is not less politically divided than the
Emerald Isle. Beckett’s drama, consequently, provides Asian directors with
more than a utopian but physical approach not only to the issues of identity
and language but to complex human conditions that predestine Gogo and Didi’s
desperation and helplessness in Waiting for Godot. The intertextuality of
Beckett’s drama and its re-adaptations for Taiwan’s audience may thus
illustrate how the significance of Irishness can be made inter-culturally
available in a border-crossing situation. The skepticism and obscurity of his
works may be made more apparent by observing how Asian directors, who mostly
received higher education at western institutions, have produced them as
vehicles of their own cultural and political agenda, and as a means to
connect Taiwan’s modern theatres with European ones in an age of
globalisation. Their productions demonstrate the extent to which Beckett has
maintained far-reaching influence over his counterparts in world theatre.
Materials to be examined include theatrical reviews of Beckettian productions
in Taiwan, interviews with directors, journalistic reportage, and
translations of the scripts. Beckett’s plays which have been staged in
Taiwan since 1988 include Waiting for Godot, Endgame, Play, What Where, Come
and Go, Footfalls, Act without Words I, Act without Words II, and Ohio
Impromptu.
Contact Person: Hsiu-ting Jian (Tel: 33663212)
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※ 發信站: 批踢踢實業坊(ptt.cc)
◆ From: 140.112.7.59