| Abstract: | 本案為為期三年之專書寫作計畫，擬以英國當代劇作家渥坦貝克（Timberlake Wertenbaker）為研究主題，援引德勒茲（Gilles Deleuze）與瓜達希（Félix Guattari）之理論，企圖剖析渥坦貝克之三部劇作《吾國至上》（Our Country＇s Good）、《解剖新義》（New Anatomies）、《夜鶯之愛》（The Love of the Nightingale），旨在彰顯渥坦貝克筆下人物，置身於複雜的文化挪移脈絡中，對於空間越位與身份認同──舉凡「浮動身份認同」（fluid identity）、「經驗的不確定本質」、以及身份「越界」與「變向」權術之體認與詮釋。本案企圖另闢蹊徑於「女性主義與渥坦貝克」之批判閱讀模式之外，藉以彰顯渥坦貝克作品不落俗套之豐富內涵。本案援引德勒茲與瓜達希之差異與重覆（difference and repetition）、游牧主義（nomadism）、混雜（hybridity）、歧路（transversality）、變向(becoming other)、逃逸路線（lines of flight）、去疆域與重納疆域（deterritorialization/reterritorialization）等概念，旨在探討渥坦貝克如何透過後設少數劇場（minor theatre）寫作機器之運作，就在將戲劇文本搬上舞台的一系列作為，就在翻譯／改編／迻譯（translation/adaptation）、詮釋／變換（interpretation/transformation）、轉置／轉造（transposition/transcreation）等一連串的擬態與變態之寫作過程中，渥坦貝克已在主觀性與文本性、在文本和現實世界之間，開創出後設劇場（metatheatrical）之去疆域／重納疆域（deterritorialization/reterritorialization）的不確定、未完成性運作空間。
Timberlake Wertenbaker’s career is characterized by its variety. On moving to England in the 1970s, she has started her involvement in the Women’s Theatre Group, the Shared Experience Company, the Royal Court Theatre, and other fringe theatres in and around London. And since then, Timberlake Wertenbaker has written over a dozen plays, and has already established herself as a powerful voice in British theatre. Wertenbaker’s another career is as a highly adept translator of other playwrights’ work. Also she wrote the screenplays for film adaptations of Edith Wharton’s The Children and Henry James’s The Wings of the Dove as well as produced and adapted works for television and radio. That she demonstrates her ability to work equally well with historical sources and contemporary settings, with creativity and translation/transcreation, and that it seems for her one leads naturally into the other, attests no so much to her interest in intertextuality, as to her obsession with, or devotion to the issues of being, identity, and representation. Wertenbaker, as a playwright, a translator, an experimenter in languages, genres, and conventions, activates and explores the dynamic process of interpretation, adaptation, transformation, transposition, and transcreation; she, as a commentator on the human condition, registers the subtle angst of “reality” and the instable, indeterminate nature of its verbal/linguistic representation. This three-year study aims to analyze Timberlake Wertenbaker’s Our Country’s Good, New Anatomies, and The Love of the Nightingale in terms of Gilles Deleuze’s and Félix Guattari’s theories, such as the concepts of writing machine, difference and repetition, lines of flight, and minor theatre, exploring how Wertenbaker’s characters traverse the threshold of “becoming other” via sexual anarchy and textual anarchy to open up lines of flight, to generate the unceasing mapping of territorialization/deterritorialization/reterritorialization. Arguably, these plays attest once again a brave new anatomy of the contingencies of becoming in Wertenbaker’s poetics of translation, adaptation, and transcreation, her metatheatrical politics in terms of a minor use of language, a way of deterritorializing language that leads to the indeterminate, unfinalizing agon between sexual/cultural hybridity and transversality, as well as subjective/textual diversity and dissemination. |
