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劇という名の「毒の酒」をめぐる詩学―唐十郎作『風に毒舌(1984)』における 「記憶の所有権」―「俺は空っぽの器だ。毒の酒でも構わない!」と叫ぶ影山の 〈空虚〉に対し、女が「過去の味がする」「あの日の川のことを教えてくれ」と 〈林檎〉で詩的提供す演出-「不在の姉」の存在における暴力的詰問と老婆とモン タークが「何一つ新しくないよ」という摂理、そして「言葉は火だ」と宣言する モンタークの観客という「空っぽの器」に「演劇」そのもの「酒」を注ぐ結論
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