重返都柏林：再思愛爾蘭劇場

Return to Dublin: Irish Theatre in Retrospect

高維泓(Wei H. Kao)

愛爾蘭劇場 ； 復活節起義 ； 北愛動亂 ； 全球化 ； 創傷記憶 ； Irish Theatre ； The Easter Rising ； The Northern Ireland Troubles ； Globalization ； Traumatic Memory

戲劇學刊

19期（2014 / 01 / 01）

115 - 136

繁體中文

本文將以「重探」的角度，回顧愛爾蘭劇場與社會發展的過往，從舉隅與「復活節起義」有關的經典及當代劇作，佐以宏觀與微觀之詮釋，延伸至都柏林以外的地點。尤其要探討的是當全球化成為主流價值，愛爾蘭劇作家如何直接或間接影響歷史觀點的形塑，如何因應劇烈改變中的社會，提出具批判性的創意發想。如評論家凱博（Declan Kiberd）所言，沒有一個動亂如1916年的「復活節起義」，不斷在劇場中被想像與詮釋，彷彿在二十一世紀召喚上世紀初的衝突陰影。做為知識分子抒發異議的愛爾蘭劇場，劇作家又如何以冷靜卻不冷漠的方式來想像出路，而又會提出何種針砭？因此，「重返都柏林」也意味著回歸原點，也是一種想像的延伸，透過檢視已發生（或正在發生）的愛爾蘭經驗，重新評價記憶中的國族過往。塑造了機器人動人的演出，另一方面也顯露出機器人角色設定上的可能問題。

This essay project aims to both re-explore the development of Irish theatre in relevant social contexts and initiate new interpretations of canonic and contemporary dramas in relation to the Easter Rising in 1916 and beyond. The project will examine how playwrights introduced alternative interpretations of the Rising and subsequent events by unearthing marginalized experiences in creative yet critical manners, especially in the context of globalization facilitating social changes with profound consequences. Echoing Declan Kiberd's claim in Inventing Ireland that ”no previous Irish insurrection had been imagined in such avowedly theatrical terms,” this essay will examine plays written in the lead up to the aftermath of 1916's fateful events, not only because the impact of the Rising is still tangible in the 21st century-with a partitioned Ireland and sporadic sectarian conflicts, but because the ethos of the concurrent economic recession resembles that leading to social contradictions and unrest a century ago. As a whole, this project will illuminate the imaginative return to Dublin in 1916, exploring diverse experiences in dramas concerning the Irish past and the present, and participating in the rebuilding of Ireland after the halted progress of the once ascendant Celtic Tiger.

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