受逐抗爭主體的自反性戲劇政略－讀演劇人《玫瑰色的國》

Protesting Self-reflexive Theatricality: The Cyclops Troupe's ＂The Rose Colored Country＂

10.6257/JOTS.2015.16217

鄭芳婷(Fan-Ting Cheng)；王威智(Wei-Chih Wang)

臺灣 ； 抗爭 ； 受逐 ； 自反性 ； 當代劇場 ； Taiwan ； Protest ； Dispossession ； Self-reflexivity ； Contemporary Theater

戲劇研究

16期（2015 / 07 / 01）

217 - 251

繁體中文

二○一三至二○一四年間，臺灣歷經連番大型公民遊行抗爭，反映島上長期累積堆疊的族群對立、政治創傷與認同想像。實驗劇團讀演劇人二○一三年於基隆島嶼劇場推出之《玫瑰色的國》，以歷史事件與社會活動為褶，根莖編劇與複調敘事為軸，跨越臺灣過去、當下與未來時空點，展演表演主體的能動與收編。本文自朱蒂絲．巴特勒與雅典娜．阿塔納西歐的「受逐」論點出發，結合在地國島族論述、酷兒哲學、表演學研究、政治與美學聯盟概念，細部分析本劇的戲劇性部署，包括台詞語言、敘事手法、舞台設計、肢體語彙及整體劇場空間佈置，試圖自讀演劇人所建構出的實驗劇場美學中爬梳當代公民抗爭的戰術屬性。本文認為，《玫瑰色的國》具受制及抵抗雙向政治性。高度自反性的戲劇美學貫徹全劇，凸顯其中表演主體游移困走於建構與解殖之間的掙扎活動。其雙向矛盾的調性足使之不至淪為單聲道的霸道詮釋或過度一廂情願的烏托邦視角，而可得見政治目的背後複雜的運作機制，正視自身解殖動作的依存於建構體制的寄生性，並從此寄生性出發，形構游擊戰式的抵抗方法。藝術與政治相依相存，互為表裡，本劇以此概念出發，使劇場內之政治革命戲碼，成為劇場外真正政治革命的一部份。

From 2013 to 2014, a series of citizen demonstrations took place in Taiwan, reflecting the group conflicts, political traumas, and imaginings of identity layered and accumulated on this island over half a century. The Cyclops Troupe's experimental production ＂The Rose Colored Country＂, premiered in 2013 at Keelung Cultural Center, weaves together local historical events and social movements through rhizomic and heteroglossic narratives, presenting the performative subjects' possible agency and their limits. Employing national/insular identity theories, queer epistemologies, performance analysis, and concepts of political-aesthetic alliances, this paper develops Judith Butler and Athena Athanasiou's notion of dispossession into a model that helps investigate the theatrical disposition of the piece, including the script, the narration, the staging, the acting, and the entire mise en scène of the theater space. This paper argues that the hyper-reflexive theatrical aesthetics of ＂The Rose Colored Country＂ reveal its ambivalent political character of being incorporation and resistance, underscoring the ways in which performative subjects struggle between constructedness and decolonization. These tactics expose the complex apparatus of the politicalaesthetic production and constitute a guerrilla form of protest that highlights how the performance on stage flexibly engages with and against performances off stage.

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