arts review 13

1-13

()

15-94

95-133

135-179

181-193

195-210

211-250

251-271

273-284

285-308

2001 309-319

89-90 321-352

Contents Articles The Change And Development of the Cultural Asset Preservation Act () System in Japan (I)

Pao-Yao Lin 1-13

A Study on the Western-style Architectures of Taiwan in the Late Ching PeriodCustomhouse, Consulate, Lighthouse and Foreign firm house

Hui-Cheng Lin 15-94

Holidays and Festivals Performing Arts in Yilan During the Japanese Colonial Period

Hsiu-jen Jian 95-133

The First Study for the Folk Pottery Sculpture: The Dai go An Gian Pian in Chaozhou

Yi-Kai Chen 135-179

Performance and Insanity on the works of Suzuki Tadashi

Yu-Pin Lin 181-193

A Semiotic Analysis on the Representation of Ancient Greek Tragedy in Taiwan Theatre A Departure from A Taiwanese Performance of the Tainanjens Antigone.

Kuo-Yuan Lin 195-210

To Activate the Memory of Racine: On Four Representations of Racines Tragedies by Antoine Vitez Synopsis

Li-Li Yang 211-250

A Preliminary Study of the Development and Changes of the Arab Music Theory and Esthetical Tradition on the Eve of the Twentieth Century

Chyou-Chu Wen 251-271

TitleA Study of the Beginnings of Modern Dance Teaching

Chung-shiuan Chang 273-284

The Evolving Self and Its Implication on Lifelong Learning

Shen-Shen Wu 285-308

Exhibition and Performance Files An Artist Exiled Himself inside This World Chh Yang 309-319

Annual performances and recitals on campus for the 321-352

academic Year 2001~2002

A r t i c l e s

Exhibi t ion and

Performance Fi les

ISSN 1015-6240

112 1 400

92 12

2003 by Arts Review Printed in Taiwan R.O.C.

113 1 REVIEW, NO. 13, pp. 1 13 (2002) Taipei National University of the Arts ISSN: 1015-6240

3

1

2

1 15 3 20 1-1094 1-1142 1-1056 1-1176 1-1156 1-38191119121926

2 27

4

3

4

3 29 4 Francisco de Xdvien1506-52 1549 8 1587 7 1598 3 2 Christao1988 483-c485-c 337-c338-a

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21 Ernest Francisco Frenollosa1853-1908 1874 1878 Edward Sylvester Morse1838-1925

12

22

1882 1884 1886 1890 1896 1990 24 1988 381-b

22 15 172

13

The Change And Development of the Cultural Asset Preservation Act () System in Japan (I)

Pao-Yao Lin Abstract

Japan is a country that has made its best endeavors to the preservation of traditional Japanese

cultural arts in all aspects. Japans achievement focusing on preserving its cultural arts has

earned a great reputation for countries in Asia to follow, in addition, is of high renown all over the

world.

As is known to all, the Culture Resources Preservation Act of Taiwan has learned a lot from

Japans Cultural Asset Preservation Law, however, we are lacking in placing much emphasis on Japanese centenarian development and researches on it.

In view of the foregoing reason, the paper devotes to a little analysis and research on the

evolution of the Law, especially in the historical background field of the policy of the Shinto and

Buddhism Separation Law in the early Meiji-Period. In addition, the paper further aims at tracing and studying the subjects, such as the whole people headed for the

establishment of so-called Cultural Asset Preservation system and its law, etc., in chronological order.

The content shall be published in order of (I) and (II).

1594 15 ARTS REVIEW, NO. 13, pp. 15 94 (2002) Taipei National University of the Arts ISSN: 1015-6240

()

1858 8

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84

2.Julius Mannich & Co. Julius Mannich & Co.

1886 12 1895 1901 341920 91983 1985 1987 197837 200119

23 11.5 2.7 1.6 1978193 4-134-14

4-13 1978194

() 85

4-14

3.

1900 33 1920 9 20006-71964 1998

34 30-33.5 21 16.5

pediment 200020-27 4-154-164-174-18

86

4-15

4-16

() 87

4-17

4-18

88

4.

1868 7John Gibson 1999413-414 1897 30 1930 5 1993411975 1983

18 14 2 4-194-20

4-19

() 89

4-20

2001233-242

Bungalow From Far Formosa BungalowMackay1895118BungalowBengalbanggolo

90

King 19951-64

porch 2-3 verandah 1

Bungalow Bungalow

19532(3)36-42 1968 1980 19971850-1920 1983 9-16

1999 197728(1)90-106 1985 1996

() 91

19971860s-1890s

1988 1895-1945 1980 1984 20001-8

2001

1-34 P. H. S. Montgomery 19571882-1891

1999 1991 19544(1)37-41 1999 97-454

200155(3)231-280 1983 (3) 1975 128-48 2002 1863-1895 1996 1997 1996 18911979 1995 1999 1977 2000306210 1995

92

1954 1983 9-16

18711963 1990 1978 1993 1983 1970 2002 1995 1996a

1133-158 1996b 1996 1985 198942(2)99-105 1992 2001

1999 1982 1778a 81-821961

1778b1983 18291961 1995 1971 2000 1988

() 93

1984 11 1990 1994 1829 82-841961

2001 1981 King, Anthony D., 1995, The Bungalow: The Production of a Global Culture, OxfordOxford

University Press.

Davidson, J. W., 1903, The Island of FormosaPast and Present, OxfordOxford University Press.

Mackay, G. L., 1895, Pickering, W. A,. 1898, Pioneering in Formosa, (1993)TaipeiSMC Publishing Inc. 1897The Japan Directory for Tokyo, Yokohama, Kobe, Osaka, Kyoto, Nagasaki, Kushiro, Otaru,

Hakodate, Niigata, Nemuro, Momuro, Mombetsu, Sapporo, and Formosa

The Chronicle and Directory for China, Korea, Japan, and the Philippines1865-1912

94

A Study on the Western-style Architectures of Taiwan in the Late Ching PeriodCustomhouse, Consulate, Lighthouse and Foreign firm house

Lin, Hui-Cheng Abstract

After the Tien-chin Treatywas signed between the Ching Empire and the western countries in 1858 A.D., the Tan-shui, Tai-wan-fu, Keelung, and Ta-kuoof Taiwan were designated as international harbors. From then on, people from the western countries, including customs staffs, diplomats, merchants, Christian and Catholic priests,

and technologists came to Taiwan from all over the world. They built many constructions on

Taiwan, either based on their own needs or to meet the needs of the Ching Empire, such as

customhouses, lighthouses, consulates, chapels, cathedrals, hospitals, schools, fortifications,

ammunition and machine factories, telegram factories, and cemeteries.

In this article, I first collect and organize data regarding the construction process and

conservation status of these buildings constructed by the western people during this period, and

then I will introduce and discuss the forms of these buildings. Generally speaking, among these

buildings, the office buildings and residence possess the following five common characteristics:

raised floors, spacious corridors, sequent arches outside the corridors, thick break walls, and huge

inclined roofs. The forms of lighthouses, fortifications, ammunition and machine factories, and

telegram factories were mainly subject to their function, while those of the chapels, cathedrals, and

cemeteries were copied from those of the designers home countries.

Key words : TaiwanLate Ching DynastyArchitecture historyBungalow


1937 1937-1945

96

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10 1993[1840]http://www.sinica.edu.tw/ftms-bin/ftmsw3

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signifiantsignifi

festival

1921-1925

128

1926-1940 167

1918-1919 168

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1916 11 30 1917 170

1930 171 1934 172 1938 8

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167 1979 104-105 168 1987[1934] 173 169 1915 1 13 170 1916 12 7 171 1960 13-22 172 1934 5 15

129

173 8

()

19602 3 13-22

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1987[1934]

1963

19921895-1945

1993 62 2 291-336

173

130

1992

1977

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2000

2000

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1994

1988

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2000

131

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16 89-102 20022001

111-126

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() 1896-1898 1898-1944

() JIAN Hsiu-jen

2000, Dveloppement du Thtre de Communaut Beiguan et Transformations Sociales

Tawan: le Cas de la Rgion de Yilan, Nord-Est de Tawan, Thse, Etudes de lExtrme-

Orient, Universit Paris 7.

Myers, Ramon H. and Peattie, Mark R.,eds.

1984, The Japanese Colonial Empire, 1895-1945, Princeton, N.J.: Princeton University

Press.

()

132

2001 9 5 1923 1969-1984

1992 4 3 1910

()

1982 () http://www.sinica.edu.tw/ftms-bin/ftmsw3

* 1906-2001

133

Holidays and Festivals Performing Arts in Yilan During the Japanese Colonial Period JIAN Hsiu-jen Abstract

The purpose of this text, on the basis of the reports in the newspaper Taiwan Ririxin Bao, is to

have an understanding of the performing arts in religious festivals, Shinto Shine worships, and the

celebration of the Emperors Birthday during the Japanese Colonial Period. It will analyze how

festivals were prepared and organized, how performing arts were developed, and how Japanese

people and Taiwanese people cooperated. It will also explore the relationship between the

changing of performing arts and the social environment at that time, examining how Japanese and

Taiwanese cultures affected each other.

Before the Kominka Movement was fully developed in 1937, Japanese festivals in Taiwan

had been adopting the Taiwanese theatres and other musical forms in their activities while

Taiwanese festivals, with the influence of Japanese festivals, included activities such as the

Makeover Process. However, during the years of Kominka Movement from 1937 to 1945, all

performances of the Taiwanese theatres and religious processions were prohibited; on the other

hand, celebrations for Shinto Shine and Emperors Birthday became more and more popular. In

order to reinforce its control over Taiwanese people, the Japanese Colonial Government promoted

Shinto Shine worships and the activity of raising lamps in the procession when celebrating

victories in battles. Nevertheless, these activities gradually fell out of favor after Japan was

defeated.

Key words : Japanese Colonizationperforming artsTaiwanfestival

136

1-1

137

1-2

139

()

ANG GIAN PIANANGGIANPIAN

()

140

GIAN

1-3

()

141

1-4

142

1

1-5

1 2000 11 18

143

1-6

() 1-5

144

1-7

()

145

2-1

146

2-1

2 22

2 93

147

2-2 ( 95)

() 3

3 1213

148

4

4 2 8283

149

5

()

5

150

6

2001/6/5

() () ()

()

2001 5 30

6

151

7

7 6

152

8

2-3 1882

2-3 2-4

9 8 2 85 9

153

2-4

2-5

(

154

HI3 CUG4 MI)

2-6 2-7

155

10

10 1999 1 16

156

()

()

157

() 11

11

158

3-1

()

159

()

160

3-2

3-3

161

3-4

3-5

162

()

3-6 3-7

163

()

1213 M6-7 SENG5-7 HI3

14

12 ()1997

329 13 1997 5 150 14 I

1996 5 164

164

3-8

3-9

15DAN3-5

VCD1617

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3-11

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171

1. ()1999 1

2. ( 05)1998 7

3. ()1999 1 4. 1996 4 5. 1997 5 6. 1997 5 7. 1997 5 8. 1997 5 9. 1997 5 10. 2001 4 11. 1996 4 12. ()1999 1

13. ()

1999 1 14. 1999 1 15. 2000 11 16. 1992 11 17. 2001 3 18. 1997 6 19. 1993 8 20. 2001 5 21. ()

1999 11 22. 2001 8

172

23. 2001 1 24. ()1999

11 25. 1995 7 26. 1970 27. 1997 11 28. 1985 10 29. 1996 9 30. 2001 3

173

()()

175

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176

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177

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178

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179

()()

180

The First Study for the Folk Pottery Sculpture: The Dai go An Gian Pian in Chaozhou Yi-Kai, Chen Abstract

Investigation of this essay comes from the folk pottery sculpture in Chaozhou, Quandong.

As it is made by people of Dai go Village, therefore according to its local dialect it is called Dai

go An Gian Pian. This is a folk handicraft with special characteristics and is rarely seen in Taiwan.

Through research, it is discovered that the Dai go An Gian Pian is not just clay sculpture or clay

doll and this has been a misunderstanding in the past. Its intrinsic quality belongs to color painting

pottery. Its function is applied in the decoration of temple fair and celebration ceremony. The

performance topic is mostly related to local plays in Chaozhou and Chaozhou opera. Therefore,

the role and figure of the opera song characters can be seen. In addition, through History of Villageand interview, it is known that there are continuously many talents of local carving and sculpture masters who even influence the development of techniques of the neighboring Feng Xi

Town that becomes the major place of the present Chaozhou handicraft. It is really worthwhile for

cultural workers to contemplate deeply based on the above points and the decline of the present An

Gian Pian.

Key words : pottery sculpturepotteryfolk artsChaozhou

182

1939~19741984

1972 1 2

1 2 1977

183

3

4

3 1972 p.152 4 p.50-51

184

1969 1970 69 470 11 1970 5 6 20 4000

185

1 2 3 4 5 6 7 8

5

1

5 collage

186

5 6

5

6

187

7 8 9

7 8 9 1970 6 8

188

(1)(2)(3)

190

10

tre- pour-soipour-soi

10 p.62

191

tre-pour-autrui 11

//

11 p.99

192

1 1977

2 1972 3 PARCO 1984 4 1994 5 1977 6 1999 7 1976

193

Performance and Insanity on the works of Suzuki Tadashi

Yu-Pin Lin

Abstract

Insanity is considered the major theme of avant-garde theatre after Second World War. The

elements of insanity also appear frequently on the Theatre works of Suzuki Tadashi, who was

known as one of the most important artists of postwar avant-garde theatre movement in Japan.

This paper discusses Suzuki Tadashis theatrical theories by analyzing his works. Through

cross-examining his works and theories, it is shown that the insanity is not the contents of

Suzukis drama but the result of his language strategy of dramatic narrative. By destructing the text

and roles in his works, the function of symbolic reference on stage is disrupted, meanwhile the

metalanguage of drama was created as well.Suzuki Tadashis distrust to the text and the desire to

destruct the function of the role are deeply rooted to his repulsion of Japans westernization started

since Meiji Restoration.

Key words : Japanese Avant-garde theatreBodyPerformanceSuzuki TadashiShiraihsi KayokoActors Self

196

1

1

197

Jiri Veltrusky, 1941bDramatic Text as a Component of Theater 2

Contribution to the Semiotics of ActingActing and Behavier: A Study in the SignasMan and Object in the TheatreJindrich HonzolDynamics of the Sign in the Theatre 3

2

19401980

3

198

1993A. Serban 4

[]

4 (1993)

199

2001

5

5

200

6

7

6 []

7 Tragedy is not Enough

201

8

9

Birute Mar10 8

9 [1453 a 11-13]

10 18-19

202

gestus11

12

13 11 gestus

Patrice Pavis, 1984 gestus Schmid et aled, 1984, pp.290-304 12

13 6, 50 a 13-14

203

14

14 (1995)[]

204

15

15

205

1.

199210pp.129-151 2.

199310pp.1-32 3.

19945pp.1-30 4. 199610pp.1-365.

1993.5.pp.49-54 6. 1993. 5.

pp.55-64 7. (Jindrich Honzl 1940)(Dynamics of the Sign in the

Theater.)In Matejka and Titunik (1976), 74-93.

8. (Jindrich Honzl 1943)(The Hierarchy of Dramatic Devices.) ()(Matejka and Titunik, 1976), 118-27.

9. (Jiri Velterusky, 1941)(Dramatic Text as a Component of Theater), In Matejka and Titunik (1976), pp.94-117

10. (1984)(Action and Behaviour: A Study in the Signans), in Semiotics of Drama and Theatre,New Perspectives in the Theory of Drama

and Theatre, Edited by Herta Shmid and Aloysius Van Kesteren, Armsterdam /Philadelphia:

John Benjamins, 1984. 11. (1940) ,Man and object in the Theater.()In Garvin

(1964), 83-91.

12. (1941)(Dramatic Text as a Component of Theater)In Matejka and Titunik (1976), pp.94-117

206

1

2

207

3 ()

4 ()

208

5 ()

6 ()

209

7

8

210

A Semiotic Analysis on the Representation of Ancient Greek Tragedy in Taiwan Theatre A Departure from A Taiwanese Performance of the Tainanjens Antigone. Kuo-Yuan Lin Abstract

This paper gives decription and analysis on the two performances of Ancient Greek Tragedy

Antigonein Taiwanese Theatre, from the semiotic theory of Theatre action.

First, the author resumes the view point of dialectic traits and its transformability of theatrical

semiosis in Veltrusky and in Honzl, and emphasizes the theoretical origins in the theory of theatre

action as the basic nature of theatre art.

Concerning the production of Tainanjens Antigone, this paper narrates ils intention to make

a full-length performance and being loyal to the original greek text, and the author resumes the

performance as the following points: Its outdoor character in utilizing the court-yard theatre of the

performing Center in TNUA, its transformability of the costume and figure, the dance and moving

line, the root of cultural origin in voice acting, all these points unit together or alternately to fulfill

the intention of the Director: wishing the audience could experience the basic traits and the shock

forces in the drama realization.

Another performance of Antigoneis the one-man show and has been Minisized, Birute Mar

utilizes the film images as the chorus organization and transforms the world of Antigone with the

voice or figure-shape elements.

By the end, this paper reminds us in concluding the problem of the a priori and the experience,

and that of the cultural roots and the interaction between the grand tradition and the small tradition,

and that is concerning the value reflection of Taiwan Theatre.

211250 211 ARTS REVIEW, NO. 13, pp.211 250 (2002) Taipei National University of the Arts ISSN: 1015-6240

1971197519801981

212

Antoine Vitez & Makeieff, 1979 : 22

Roland Barthes, 1963 : 136

1Antoine Vitez

Thtre des Quartiers dIvryG. AperghisThtre des AmandiersThtre National de Chaillot2

1

Chevalley, 1979 : 84-86

2

213

Vitez, Bourdet & Milianti, 1981 : 4

Vitez, 1991 : 192

3doucetreVitez, 1991 : 391Jansnisme

3 R. Planchon

11 2000 10 117

214

La Comdie Franaise1963 : 130 4

Louis Jouvetles traditionsla TraditionJouvet, 1951 : 165

Vitez, 1991 : 194

Vitez, 1991 : 188

4

Vitez & Scali, 1984: 84

215

Vitez, Mnouchkine, Grunfeld & Spire, 1978 : 36

5

Denis Biscos 40-100 tirade1978 : 199-202

6Vitez, 1991 : 474 ; 1995 : 2671991: 476 ; 1995 : 263criture

5 A. Bonnard, Y. Le Bonniec, J. Gastaldi, J. -B. Guillard, J. Lefvre, J. -B. Malartre. 6 A. Ubersfeld, Le Jeu des classiques, rcriture ou muse (1978 : 191)

216

1

217

Vitez, 1991 : 332 ; 1995 : 265 piphnomne de la situation(Vitez,1991 : 175)Ibid. : 158

7 173-80 Biscos, 1978 :210

Oreste aime Hermione qui aime Pyrrhus qui aime Andromaque qui aime Hector qui est mort 8 342 1254 Biscos, 1978 : 212ritournelle9Barthes, 1963 : 18-19

7

Biscos, 1978 : 210 8 Goldmann

1971 : 61

9 ( Roubine, 1971 : 126-27)

218

Aragon 926-46 10Biscos, 1976 : 212Vitez, 1991 : 475

10

La posie est tout autant quinvention plagiat depuis quil y a des hommes et qui font des vers Andromaque aussi bien si je la prenais pour mon ombre Andromaque il y a des Andromaque chaque pas des hommes je me returne et je regarde ma vie retours cest plein dAndromaque destins spars jai vcu parmi les exils le deuil dHector le souvenir de ce corps tran sur les remparts de Troie o fument les chevaux blancs derrire eux tranant le corps dHector dans ce sicle de siges et dexodes tout le clameurs travers routes de Chine ou dAllemagne bateaux sans portes portant par les mers refuses les femmes de Prestes ou les Juifs de nulle part doiseaux pris aux piges des frontires coeurs la patrie arraches Andromaque Andromaqnue quel vainqueur jete Andromaque emportant son enfant dans ses bras pas ncessairement reine cette heure Andromaque abandonnant le pauvre chariot qui portait les ustensiles de cuisine et le chle des jours de ftes Ah do me vient cette chanson de quelle gorge de guitare ou de quel moulin prires cela grince comme lorgue dans la rue o le singe perche et lhomme aveugle tourne la manivelle par -coups de sa mmoire. Aragon, 1976 : 107-08

219

Biscos, 1978 : 21111

Biscos, 1978 : 214-15

11

220

12Vitez, 1991 : 303

Biscos, 1978 : 204Ibid.

Biscos, 1978 : 215Ibid. : 225

Biscos, 1978 : 229

12

221

1565 1568 Biscos, 1978 : 232

13

Atelier de mtrique et de prosodie14rcitatiforatorio

Gaston Baty (pret jansniste, noblesse louis-quatorzienne et ce grondement assourdi des instincts dchans au fond des abmes 13

M. Descotes, Les Grands rles du thtre de Jean Racine (1957 : 1-52)

14 La Champmesl Julia Bartet Sarah Bernhardt Descotes, 1957 : 194-200 Jean-Louis Barrault Barrault, 1946 : 202-18

222

lgendaires )1948 : 193

B. Dort1986 : 236-37Vitez, 1991: 333343Ibid.: 333, 384 Vitez & Varenne, 1975

Meschonnic, 2000 : 154enjambementCournotdiction insulaire1980direse/e/cher/che/fils/fi/Biscos197824215

15

A. Ubersfeld 1975 ; 1994 : 37

223

2

224

alliterationMeschonnic, 2000: 155-56Vitez, 1995 : 45116Valry1960 : 1258

Jeanne VitezM. GrnwallQ. NozatiLulliRameau69-80 273-86 A. Sonnet 17Biscos, 1978: 248: Le jour nest pas plus pur que le fond de mon coeur 1112 Richard FontanaChapelle SixtinecastratBiscos, 1978: 249

16 Meschonnic (Meschonnic &

Dessons, 1998 : 87) Biscos, 1978 : 243-48 ; Meschonnic, 2000 : 154-63

17 Jeanne Vitez A. Sonnet

225

P. Dutertre 14 12.4 Studio 9 3 bassine larmes18Vitez, 1991: 197

Biscos, 1978: 240192021Ibid. : 250Vitez & Baby, 197422 18

Vitez, 1991 : 196-97 19 (

)Biscos, 1978 : 273 20

21 (1976) 22

226

Vitez, 1991 : 493

Nada Strancar 1273-74 Biscos, 1978: 237

269-316 Biscos, 1978: 23923

Puzin, 1987 : 250

23 Thierry Maulnier conjurationinvocation1948 : 40-41

227

Biscos, 1978: 238Chateaubriand,18021978: 694Maulnier1948 : 79

670-73 1119-26 Biscos, 1978: 264

alination1963 : 18Biscos, 1978 : 25524

Ubersfeld 24 Ubersfeld

(1975)

228

1982 : 90-9125

1963 : 1332627Sandier, 197528

Biscos, 1978: 263Ibid. : 251

25 1963 : 135

Ibid. : 28-29 Paul Bnichou (labsolutisme triomphant)1948 : 200-02

26 L. Attoun 1975 27 (179-80 )Biscos, 1978:

239 28 Cournot 1975

229

Biscos, 1978: 253Vitez, 1995: 436

Cournot, 1975Biscos, 1978: 249

2930

29

1963 : 135- 36

30 fausse eruditionCournot, 1975

230

31

Madeleine Marion32

virtuositAttoun, 1975; Marcabru, 1975 ; Cournot, 1975 ; Sandier, 1975 ; Ubersfeld, 1975

31 (Vitez & Scali, 1984 : 84)

32

231

3

232

la violence des passionsle monstre sacrle grand styleVitez, 1991 :391; 1996 : 18033Vitez & Scali, 1984 : 843435

Claude Lemaire

atriumle Dieu cachCabanais : 198036

33 (Talma) (la Berma)

Thtre/ roman La Grande Actrice1974 : 297-302

34

35 Vitez, Mnouchkine, Grunfeld & Spire, 1978 : 36 11 2000 10 115-65

36 Cf. L. Goldmann, Le Dieu cach (1956)

233

37

G. PoliRembrandt

Vitez, 1991 : 384 ; 1996 : 1721991: 333 ; 1995: 26638

dsordre extme 967 39 37

(amphithtre)

38 1991 : 391 39

234

4041

Vitez, 1996 : 17742

40 Michel Hermon

(Ubersfeld, 1974) 41 (Vitez, 1991 : 390 ; 1996 : 179) 42 roman courtoisVitez, 1980 : 36

235

182

43M. Moy P. Romans J.-H. AngladeJ. -M. Winling D. Valadi

dsire1963 : 8844

45Vitez, 1991 : 50expressivit 43

Copfermann, 1969 : 251 44 Ibid. : 250-51 45

236

Vitez, 1991 : 380 ; 1996 : 1821991 : 381-82 ; 1996 :1831963 : 90

Vitez, 1991 : 388

237

46

47SatyriconVitez, 198248

46

2003 11 2001 12 122

47 1676Virgil Tacite Voltaire, Commentaires sur Corneille , 1764

48 Gildas Bourdet Bourdet

238

4

239

/e/Vitez, 1991 : 524 ; 1996 : 217

Ubersfeld, 1994 : 70

Yannis Kokkostoge Vitez, Bourdet & Milianti, 1981 : 5

contre-emploie

49C. WauthionA. RecoingM. Delsaert

49 Galey (1981) Sandier (1981)

240

J. Gastaldi50

51 1239Vitez & Copfermann, 1981 : 161

1137

50

168 2000 8 101-08 (Stendhal, [1823] 1993 : 33)

51 Descotes 1957 : 67-77

241

52 1196 53

J.-B. Malartre 54

55Vitez, 198256

52 Senart (1982) 53 (1963 : 84)

(Vitez & Copfermann, 1981: 161)

54 Chri Descotes, 1957 : 56Malartre Malartre

55 56 Vitez,

1991 : 2841983 165 2001 5 10212

242

Moriaki Watanabe 1986Garnier1573

57

57

1277-78 517

Palladio Lemaire & Banu, 1982 : 5prciosit(1996 : 242) P. Debauche G. Goubert B. Bonvoisin J. -Y. Dubois

243

1991146Vitez & Scali, 1984 : 82

1991 : 158Vitez & Copfermann, 1981 : 211 ne pas montrer ce qui est ditVitez, 1991 : 184texte

Vitez, 1991 : 159

244

58

Planchon59Bourdet60D. Mesguich61

621990

58 165-68 2001 59 1966,1980 60 1979 61 197519752001

67 1998 7 17-21

62 Luc Bondy Thtre VidySandre & Freda, 1998 : 52-53cf. R. de Gubernatis, O ravage, dsespoir ! (1999)D. Sandre V. Drville

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249

To Activate the Memory of Racine: On Four Representations of Racines Tragedies by Antoine Vitez Synopsis Li-Li YANG

Abstract

Antoine Vitez is one of the few contemporary French directors who consistently stages

Racines tragedies. In total, Vitez had directed four Racines masterpieces: Andromaque (1971),

Phdre (1975), Brnice (1980) and Britannicus (1981). Presented at the beginning of the 70s,

Andromaque was an experimental work in which six actors started with reading the play, then took

systematic turns to play the eight roles. As a result, the plot looked disjointed, yet its basic

structure appeared clear-cut. This spectacle was Vitez deconstructive period of work. Four years

later, Phdre reconstructed the diction of Alexandrine verse, half singing, half reciting, the

absolute poetic form being emphasized. Implying the background of Versailles, the performance

of Phdre functioned on the interrelationship between court, theatre, and ritual. Brnice,

produced at the beginning of 80s, returned to the interpretation of the plot while stressing

neoclassical conventions of acting in order to make the form of representation more rigorous.

Vitez began to appreciate the natural beauty of Racines verses, whereas the previous

productions focused on their artificial aspects. Finally, in Britannicus, Vitez used for the first

time historical costumes to locate the time and place of the tragedy, while the background of

Roman Empire was symbolically set up. The violent political and amorous conflicts of the

tragedy have been so

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