疆界突破可拓展我們的視野。疆界在突破後並未真正消失,而呈現另一嶄
新的疆界。其過程不斷進行著疆界突破與重新塑造。懷爾德(Thornton
Wilder) 在<<小鎮>>(Our Town) 中的疆界突破主要有三個方向。就戲劇
技巧而言,他運用了諸如以寫意形式的舞台取代舊日歐美寫實的佈景,讓幕
後的舞台總監現身舞台,以及打破第四面牆等技巧來摧毀對實景所產生的
幻覺。然而觀眾與舞台之間的疆界依然在。觀眾在各自的心目中建立另一
種幻覺,這樣他才可以繼續看戲。懷爾德在思維的範疇以及公共領域等場
域也嘗試疆界突破,包括小鎮內各次級疆界彼此間的互動,以及小鎮與外力
間的相互作用。懷爾德在<<小鎮>>中最顯著的疆界突破為其女主角艾茉莉
的還魂,這生死關的越界牽動了全劇的劇情。在這場經歷中,艾茉莉學習到
日常生活雖微不足道,但其間卻蘊藏著生之奧秘。這個信息值得活著的人(
包括觀眾與讀者)深思。 <<小鎮>>是一個縮影,透過它,吾人可越界而進入
其間,並從中跳開而冷眼"旁觀"以為借鏡。

Boundary-breaking can broaden our vision. Boundary does not
really disappear after breaking through. Instead, there will
emerge a new boundary. It is an ongoing process. Thornton
Wilder in Our Town breaks boundaries mainly in three aspects.
In theatrical techniques, he uses such devices as the
presentational staging, the emergence of the Stage Manager on
stage, and the shattering of the fourth wall. By doing so,
Wilder destroys the illusion of reality. However, the boundary
between the stage and the audience still exists. The audience
build illusions in their minds so that they may go on watching
the play. Wilder also breaks boundaries in various situations,
including the interplay between the minor boundaries inside the
town, and the interplay between the town and foreign forces.
Emily's transient return to life involves boundary-breaking in
life-and-death. Through this particular journey, Emily learns
that our ordinary daily life, though trivial, is actually
precious. It is a pity that those who remain living fail to
realize this. The small town is a world in miniature. Through
apprehending this small town, we may perceive the human
conditions in the larger world.
Boundary-breaking can broaden our vision. Boundary does not