論臺灣劇場世紀之交的懷舊想像

On Nostalgic Imagination in the Theatres of Taiwan at the Turn of the Twentieth-First Century

劉育寧(Yu-Ning Liu)

指導教授 ： 楊莉莉

國立臺北藝術大學/戲劇學院學術論文/戲劇學系碩士班/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00146

摘要

1996年到2012年，臺灣劇場出現了多齣以書寫集體記憶為目的的懷舊作品。本論文選擇在演出票房及場次上皆有亮眼成績的三個劇團作為討論對象：屏風表演班李國修記錄父母生平、追溯生命鏈結的《京戲啟示錄》（1996）、《女兒紅》（2003）；表演工作坊賴聲川、王偉忠合作的眷村記憶作品《寶島一村》（2008）和綠光劇團吳念真搬演過去美好道德價值的《人間條件》系列作品（2001-2012）。以上三個劇團共包含八齣戲，雖皆以喚起記憶、再現過往為目的，然而無論其立論基點或其書寫的族群皆大相逕庭。李國修處理的是非眷村的外省第二代，見證戰亂、離散，進而找尋自我生命源頭的迷惑；賴聲川和王偉忠則以眷村作為場景，描述眷村前後三代從「借住」到「這就是我家」的認同轉變；吳念真的作品雖未直接指涉族群，但其作品多以全臺語演出，討論跨度從1947年二二八事件、1960年代乃至此時此地，紀錄在過往歷史中缺席的小人物及其家庭經驗。

本論文所欲討論的是：懷舊如何作為臺灣劇場的主流命題，及其作為劇場主流命題之後，所帶來的認同形塑、集體記憶建構和懷舊商品化等現象。期從上述三個劇團、八齣作品中找出同、異之處，探討近十年來臺灣劇場與集體記憶的對話。

關鍵字

懷舊 ； 集體記憶 ； 認同 ； 李國修 ； 吳念真 ； 賴聲川 ； 《寶島一村》 ； 《京戲啟示錄》 ； 《女兒紅》 ； 《人間條件》

並列摘要

From 1996 to 2012, there have been many stage plays dedicated to the depiction of collective memory in theatres of Taiwan. With their great box office and positive audience response, my research is aimed at analyzing eight renowned stage plays by three distinguished theater companies in Taiwan: first, Human Condition series by Nien-Jen Wu’s Greenray Theatre Company, praising the traditional. Second, The Village of Performance Workshop led by Stan Lai, cooperated with Wang Wei-Zhong in remembrance of military dependents’ villages in Taiwan. Third, Wedding Memories, and Apocalypse Beijing Opera by Kuo-Hsiu Li’s Ping-Fong Acting Troupe, recording lives of his parents, as well as tracing back the links to his own life.

These eight stage plays by three theatre companies in Taiwan were all produced with the intention of evoking memories and re-representing the lost past. However, their standpoints and protagonists are very different. Ping-Fong deals with the second generation of the Mainlanders, who did not live in military dependents’ villages. They had gone through the scourge of war and diaspora, trying to search for the roots of confusion in their own lives. The Performance Workshop took military dependents’ villages as landmarks, depicting the transformation of identity throughout three generations of the village residents, from “leasing a house here” to “this is my home.” On the other hand, though Human Condition does not directly refer to any ethnic group, the whole work has been performed in Taiwanese without subtitles, the era being discussed spans from the 228 Incident in 1947, all the way through the 1960s till the present time. Human Condition is trying to memorize those citizens absent from history as well as their family experiences.

The thesis explores how “nostalgia” has become the mainstream of theaters in Taiwan, and the phenomenon of identification, collective memory, and commercialization that follow after. I hope to find out common grounds as well as different points among these eight works, in order to discuss the dialogues between Taiwan’s theaters and collective memory within these 10 years.

並列關鍵字

nostalgia ； collective memory ； identity ； Human Condition ； The Village ； Wedding Memories ； Apocalypse Beijing Opera ； Kuo-Hsiu Li ； Stan Lai ； Nien-Jen Wu

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