Across Boundaries: Bilingual Activism in Guillermo Gomez-Pena's The New World Border

跨域：吉列爾莫．戈麥斯培尼亞《新世界疆界》中的雙語動能性

10.6271/fd.2016.25.2.01

陳宛利(Wan-Li Chen)

雙語動能性 ； 跨疆界 ； 墨裔美國戲劇表演 ； 吉列爾莫．戈麥斯培尼亞 ； 多元文化 ； Bilingual Activism ； Border Crossing ； Chicano Drama Performance ； Guillermo Gomez-Pena ； Multiculturalism

小說與戲劇

25卷2期（2016 / 06 / 01）

1 - 23

英文

墨裔美國邊境藝術家，吉列爾莫．戈麥斯培尼亞與其搭檔，於美國西南邊境各州巡迴演出《新世界疆界》。在邊境藝術家的巧妙運用下，雙語戲劇表演成為兼具自身文化實踐及批判社會政治強權的場域，對抗深具歷史淵源之跨域經驗下，產生的不平衡權力關係及所種下的苦果。本文旨在討論此劇場表演所彰顯的雙語動能性。語言政治是戈麥斯培尼亞戲劇表演的關鍵。《新世界疆界》雙語策略的使用，異化觀眾的視聽經驗，在劇場內營造具文化衝擊與張力的跨域經驗。此雙語劇場表演亦深具批判美國多元文化論述的潛能。戈麥斯培尼亞不諱言地指出，多元文化論述是種「集團組織的交易」:「現今美國的多元文化論述，建構於消費不同種族自身的文化多樣性，卻排除其社會參與」（＂Chihuahuas＂194）。對於邊境藝術家來說，跨疆界不僅為自身歷史經驗，也象徵跨越語言、族裔等社會鴻溝。

This essay discusses bilingual activism in The New World Border, a workcreated and widely performed by a Chicano border artist, Guillermo Gómez-Peña,and his colleagues in Southwestern U.S. border states. These Chicano and Latinoborder artists use theatrical spaces and bilingual performances as sites of culturalpractices and socio-political resistance to contend with the asymmetrical powerdynamics inherent in the irreversible history of border crossing and its aftermath.Language politics is the crux of Gómez-Peña’s performance pieces. Bilingualstrategies in The New World Border create moments of defamiliarization whenspectators experience cultural tension or clashes through the linguistic journeyacross borders. The bilingual thrust in The New World Border is a critical responseto the current status of multiculturalism in the United States. As Gómez-Peñabluntly points out, American multiculturalism has become a “corporate business,”a constructed discourse that appropriates multiethnic groups’ cultural diversities yetexcludes their participation in a multicultural society (“Chihuahuas” 194). For Chicanoand Latino border artists, border crossing is not only an authentic experience, but also atransgressing act across linguistic, ethnic, and social boundaries.

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