本論文旨在探討美國劇作家奧古斯都．威爾遜四部劇《喬‧特納來又走了》、《鋼琴課》、《圍籬》、與《萊妮大媽的黑臀》中的搗詭神話及其再現。 本文將聚焦於非洲約魯巴神話中的「埃蘇」搗詭精靈形象，研究威爾遜在其劇作中，如何再現搗詭與迂迴等技倆來顛覆既定的成規與觀念。 而「意指的猴子」是非裔美國神話中「埃蘇」的功能對等物，威爾遜將其「再現—修正」的技巧運用到他的劇作中，將舞台場景、角色塑造、道具、音樂、與對話等傳統寫實功能賦予另一層意義。路易斯‧海德的論點和小亨利‧路易斯‧蓋茲的搗詭神話和意指的猴子將做為理論基礎。文中亦探究威爾遜如何借用比爾登的拼貼藝術來構築故事；兼及比較德國劇作家布萊希特的敘事劇場與疏離效果和威爾遜創作理念的異同，從而證明威爾遜亦再現且修正了前輩藝術家的創作與理念，因而造就其獨特的編劇手法，讓搗詭神話再現於劇作中，並再創且改寫了非洲裔美國人的神話與歷史。

This dissertation aims to explore August Wilson as an American dramatist who makes trickster myth and its representation recognizable in his plays and employs trickster’s strategies to convert existing racist ideas into sacred images and to transform African oral tradition into dramatic works with the long-term goal of creating a new cultural mythology and alternative history. Hermes in Greek mythology, Mercury in Roman mythology, Esu in Yoruba mythology, and Wakdjunga in Winnebago mythology are examples of the Trickster archetypes. According to Lewis Hyde, African tricksters traveled west in the slave trade and represented in African-American storytelling and in the blues. The study of this dissertation will focus on the Esu-trickster myth and its representation—the Signifyin(g) Monkey. Besides Lewis Hyde’s perspectives of trickster myth, Henry Louis Gates, Jr.’s theory of Esu-trickster and the “Signifyin(g) Monkey,” especially the process of repetition and revision, will be applied to study four of August Wilson’s plays—Ma Rainey’s Black Bottom (1984), Fences (1986), Joe Turner’s Come and Gone (1988), and The Piano Lesson (1990). How Wilson completes a fuguistic narrative by Borrowing from Romare Bearden’s art of collages will also be explored. In addition, the differences in the techniques used in the staging of storytellers between Wilson and Bertolt Brecht will be studied in the concluding chapter to further evaluate Wilson’s positioning in the circle of playwriting.

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