「跨界對談20──表演藝術研究國際學術研討會」重磅消息公告！

瑪格達．羅曼斯卡 Magda Romanska 

　　美國愛默生學院表演藝術教授、哈佛大學Berkman Klein網路與社會中心研究員。她同時擔任哈佛大學metaLAB@Harvard主要研究員、跨媒體藝術論壇主席，為跨媒介戲劇構作以及數位表演領域的前驅研究者。關於科技與表演的交匯著作頗豐，代表作包括《葛羅托夫斯基與康托的後創傷劇場》（The Post-traumatic Theatre of Grotowski and Kantor）、《羅德里奇戲劇構作手冊》（ The Routledge Companion to Dramaturgy）。其著作銜接傳統戲劇理論與新興理論：科技以及意識理論。
　　身為TheTheatreTimes.com的執行總監與主編，羅曼斯卡教授推動劇場研究的全球視野。她在許多國際研討會發表關於科學、科技與表演之間互惠的研究，影響當代關於現代戲劇構作的認知。目前進行關於跨媒介劇場與數位倫理方面的書寫。

Magda Romanska is Professor of Performing Arts at Emerson College and Faculty Associate at the Berkman Klein Center for Internet & Society at Harvard University. She is also a Principal Researcher at metaLAB@Harvard and chairs the Transmedia Arts Seminar at Harvard’s Mahindra Humanities Center. A pioneering voice in transmedia dramaturgy and digital performance, Romanska has published widely on the intersection of technology and performance. She is the author of The Post-traumatic Theatre of Grotowski and Kantor and editor of The Routledge Companion to Dramaturgy. Her work bridges traditional dramatic theory with emerging technologies and theories of consciousness. As Executive Director and Editor-in-Chief of TheTheatreTimes.com, she has championed global perspectives in theatre scholarship. Her research on the intersection of science, technology, and performance has been presented at numerous international conferences and has influenced contemporary understanding of modern dramaturgy. She is currently working on books on transmedia theatre and digital ethics.

專題講座：量子戲劇構作（Quantum Dramaturgy）

　　愛因斯坦1905年出版《相對論》，不僅改革物理學，更是刷新人類關於現實的理解。量子力學假定粒子是以多重狀態同時存在（稱之為疊加），這種現實經過觀察更顯得明朗具體。也因此，每位觀察者對於現實就產生不同的視角。量子力學的轉變深刻地影響二十世紀初期的藝術，立體主義以碎片化的單一視角建構多重角度。文學領域則出現現代主義的實驗：主觀的視角與不可靠的敘事。喬哀思的《尤里西斯》(1922)、吳爾芙的《戴洛維夫人》(1925)、福克納的《我彌留之際》(1930)、又如當代小說安妮．艾諾的《攝影的用途》（2024）等作品，皆使用多位敘述者手法，日益成為文學界的慣習。
　　藝術與文學領域的實驗風氣也發生在哲學領域，產生後結構主義與後現代主義，提出真理是多重的社會建構此一理論，是個人主觀的經驗，深植於個人的具體經驗以及文化框架。然而劇場雖然具有同時呈現多重性的獨特能力，但直到二十世紀中葉，卻仍多遵從亞里斯多德式的單一敘事，例如具有缺點的悲劇英雄，或類似亞洲戲劇循環式的戲劇構作。
　　我在演講中追溯我稱為量子式的戲劇構作：劇場作品刻意使用多重視角，甚至是衝突的觀點來呈現同一事件。我會先探討《羅生門》（Fay 與Michael Kanin在1959改編黑澤明電影的作品）、Michael Frayn的《哥本哈根》(1998)、接下來是紀錄劇場如何使用互相矛盾的證詞、以及當代戲劇使用多重角度，顛覆我們對現實的穩固認知、以及對道德黑白分明的解釋，這些代表作包括Nina Raine的《首肯》(2017)、Duncan Macmillan的《那些人、那些事、那些地方》(2015)，或是Punchdrunk劇團的《不眠之夜》(2011)，量子式的戲劇構作讓我們正視我們現今所處的全球化世界以及其衝突的複雜程度，已無法使用古典式的單一英雄旅程的戲劇構作。
　　量子式的戲劇構作反映了我們日益緊密連結卻又斷裂的世界：數位與社交平台加速量子式的現實感，因為不同的社群存在於由不同的資訊所構成的生態系統中。同時，沉浸式劇場所使用的科技（VR, AR）創造出新的量子式的戲劇經驗。近年來，Roger Penrose以及 Stuart Hameroff提出人類意識理論，編纂客觀式的縮影(Orch OR)，假設人類意識的產生是透過量子塌縮的過程。假設人類的意識是透過量子力學原則而運行（根據Penrose-Hameroff的說法），那麼我們對現實的感知也就不是完全的主觀，它確實是以多重的狀態存在，且透過觀察可以得知。

這個理論也對認識自由意志提供了基礎。在傳統物理學中，所有事件由之前的「因」決定，一切事物基本上是由之前的事所「預先設定」。這似乎暗示了我們所有的行動無可避免地都是由先行的物理狀態決定，而不是依憑我們的自由意志。
　　然而，如果我們的意識是處於持續的量子力學狀態，這意味著其結構和反應，就不是事先決定的。在前述提到的Orch OR 理論，假設意識是經由大腦神經元的微管量子歷程產生，那麼我們透過意識做出的決定就不單純是由大腦先前的狀態來決定。反之，會牽涉到量子的疊加，只會在OR（客觀縮減）的過程中，「塌縮」成明確的狀態。
　　在劇場中，這意味著人物對於同一個事件會有多重的觀點，而不只是有不同的記憶，而是在同一個時刻中，他們實際上經歷了不同的量子狀態。換句話說，人物具有不同觀點，不光是因為記憶或詮釋上的差異，而是反映了個人意識的不同量子狀態，多重視角可以同時存在，直到「塌縮」成具體的感知現實。
　　因此，量子式的戲劇構作，可以為再現與理解當代複雜的現實狀況提供獨到的方法，因為真實往往與觀者有關。當然，這伴隨著挑戰，關乎我們如何做出道德判斷、發展法律架構、建立國際法，而這一切是否可以由量子戲劇構作來引導？然而，如果基本的真實認知，是由每位觀者來決定時，我們又能如何運作？

Keynote Lecture Title: “Quantum Dramaturgy”

Einstein’s 1905 book on the theory of relativity revolutionized not just physics, but human understanding of reality itself. Quantum theory posits that particles can exist in multiple states simultaneously (superposition), their reality only crystallizing when observed. As a result, each observer has a different view of what that reality is. Quantum shift profoundly influenced early 20th-century art, with Cubism fracturing single-point perspective into simultaneous multiple viewpoints. Literature followed with modernist experiments in subjective perception and unreliable narration. From James Joyce’s Ulysses (1922), Virginia Woolf’s Mrs. Dalloway (1925), and William Faulkner’s As I Lay Dying (1930) to contemporary novels such as Annie Erneaux’ The Use of Photography (2024), the multiple narrators are a well-established literary convention. Philosophy has paralleled these artistic and literary experiments, with poststructuralism and postmodernism offering theory of truth multifaceted as social construct, a subjective individual experience rooted in our embodied experience and cultural framework. Yet theatre, despite its unique capacity for simultaneity, has remained largely wedded to Aristotelian dramaturgy of singular, if flawed, tragic hero, or similar, cyclical dramaturgy of the Asian drama well into the mid-20th century.

This lecture traces the emergence of what I call Quantum Dramaturgy – theatrical works that deliberately employ dramaturgy of multiple, sometimes contradictory perspectives of the same events. Beginning with works like Rashomon (Fay and Michael Kanin’s 1959 adaptation of Kurosawa’s film), and Michael Frayn’s Copenhagen (1998) through the documentary theatre’s use of competing testimonies, and contemporary plays that use multiple perspective to destabilize our sense of reality and moral clarity such as by Nina Raine’s Consent (2017), Duncan Macmillan’s People, Places & Things (2015), or Punchdrunk’s Sleep No More (2011), Quantum Dramaturgy openly acknowledges that our world and its global conflicts are too complex for the classical dramaturgy of singular hero’s journey.  Quantum Dramaturgy reflects our increasingly interconnected yet fractured world: digital and social media have accelerated the quantum perception of reality, as different groups can now live in entirely different information ecosystems. Simultaneously, immersive theater technologies (VR, AR) are creating new possibilities for quantum dramatic experiences.

In recent years, Roger Penrose, and Stuart Hameroff’s Orchestrated objective reduction (Orch OR) theory of human consciousness which proposes that consciousness comes into being through a process of quantum collapse. If we assume that consciousness itself operates on quantum principles (as Penrose-Hameroff suggest), then our perception of reality isn’t just subjective – it’s literally existing in multiple states until the moment it is observed. The theory thus provides foundation for free will. In classical physics, all events follow deterministically from prior causes – everything is essentially “pre-programmed” by what came before. It suggests all our actions are simply the inevitable result of prior physical states, and not a result of our free will. If our consciousness, however, is in a constant quantum state, it means that its structure and responses are not predetermined. Under the Orch OR theory, if consciousness operates through quantum processes in microtubules in brain neurons, then conscious decisions wouldn’t be purely deterministic outcomes of prior brain states. Instead, they would involve quantum superpositions that only “collapse” into definite states through the OR (objective reduction) process. Quantum nature of consciousness indicates genuine choice and agency, genuine quantum indeterminacy that only resolves into specific choices through conscious observation/collapse.

In theatre, it would mean that the characters who have multiple perspectives on the same event are not just remembering things differently, but their consciousness may have actually experienced different quantum states of the same moment. In other words, characters’ different perspectives aren’t just about memory or interpretation, but could reflect different quantum states of consciousness that actually existed simultaneously before collapsing into specific experienced realities. Quantum Dramaturgy, thus, can offer unique tools for representing and understanding complex contemporary realities where truth itself is often relative to the observer. The challenge, of course, becomes how to form moral judgment, develop legal framework, and build international law in reality governed by Quantum Dramaturgy? How can we function when even basic reality is observer-dependent?