顧曲三疊：顧正秋的三度傳記與女性的戰爭傷痕和療癒

Performing Self, Enacting Memory: Ku Cheng-chiu's Three Biographies, and Women's Remedy for War

周慧玲(Hui-Ling Chou)

《近代中國婦女史研究》 17期 (2009/12) Pp. 1-30

https://doi.org/10.6352/mhwomen.200912.0001

摘要

對於顧正秋這樣一位開創京劇藝術在台扎根半世紀的人物而言，一部記錄其藝術生涯的傳記書寫，當是眾所期盼。然而對一個退出舞台半世紀的演員而言，三度成爲傳記的撰述對象，就有些非比尋常了。從最早由顧正秋本人口述、劉枋訪談記錄的《顧正秋的舞台回顧》(1967)，到傳記主掛名作者以第一人稱敘事、由季季整理執筆的《休戀逝水―顧正秋回憶錄》(1997)，乃至季季以全知觀點撰述的《奇緣此生顧正秋》(2007)，顧正秋的三部傳記看似針對同樣事件的反覆描摹，但把它們放在四十年的歷史進程來看，卻有另一番風貌。本文將顧的三傳併讀，反覆比對，指出顧正秋的三度傳記，可以被解讀成戰爭的人文測繪。
本文首先聚焦顧的兩部傳記，指出它們記錄了一個女性藝術家在一場禁止言說又無所不在、並逐漸被遺忘的戰爭過程中，獨特地以迴避、留白、代言等方式，反照、側寫、進而沈默地宣告這場長逾半世紀的另類戰爭的發生、存在與歷程，和它對近代京劇這項表演藝術發展的長期衝撞。本文主要集中討論顧正秋前兩部傳記的敘事特點，歸結這樣的舞台生涯所傳記的，並不只是一段表演文化史歷程，而是以傳記主的藝術身段，記錄台海兩岸戰事變遷下的台灣社會風景。
本文接著閱讀顧的第三度傳記，闡釋一個女性自述位置的取決，並不在於社會對女性傳記撰述的期待或箝制（只宜談私或論公），而在於這位女性主觀的自覺與選擇（我想要如何談論）。本文最後總結，與其從這三部傳記中選擇任何一部做爲代表，不如將它們放在一起，當作一系列的自我表述，看它們如何逐漸褐露傳主堅定的自我認知。這三部傳記除了深刻印記了一位境遇獨特的女性藝術家在時代變易之際，不斷協商自我論述位置的歷程，更向我們展示一個女性公民驚人的歷史耐心，竟能在半世紀的蟄伏過程中，持續反照浮現我們一直身在其中卻早已忘卻的戰爭的足跡。

關鍵字

顧正秋 ； 京劇 ； 表演文化 ； 傳記 ； 記憶 ； 遺忘 ； 戰爭 ； 女演員

並列摘要

Ku Cheng-chiu (Gu Zhengqiu 顧正秋, 1929-), the most important founding member of Peking opera (jingju 京劇) in Taiwan, has participated in the publication three of her biographies since her legendary early retirement in 1952. Published over a long span of time from 1967 to 2003, these unusually frequent writing projects on the same old story of an actress repeatedly hint incidents still untold due to the ongoing hostility between China and Taiwan. This paper proposes to chart the three biographies of Ku as the female artist’s consecutive self-representation of her performance on and off stage against the prolonged but now forgotten cold war across the Taiwan Straight.
I begin with a close reading of the first two biographies of Ku, the first written by Liu Fang it/ in 1967, the second recorded by Chi Chi Oi Ji in 1997, comparing how Ku variously remembers and erases events under different occasions as Taiwan's political circumstances underwent tremendous transformation over those three decades. I propose that in her consecutive biographic records, Ku remembers jingju's striving for survival by avoidance, oblivion, and blanking Out its context, namely, fifty years of political struggle. Her way of telling by not telling further reveals the existence of a war that is hard to define, but exists nevertheless. The two biographical accounts of Ku's participation on the historical stage of jingle surprisingly transcribe Taiwan's soeio-political scenario over three decades.
I then analyze Ku's third biography, probing into how a woman artist’s autonomy is defined not by what she was expected to talk about, but rather by how she chose (not) to talk. I conclude by taking the three biographies, though written in very different political contexts, together-as an actress' consecutive performance of her peculiar way of remembering an ongoing war that has cast tremendous impact on her life on and off the stage, but was gradually cast into oblivion.

並列關鍵字

Ku Cheng-chiu Gu Zhengqiu ； jingiu ； actress ； performance culture ； war ； memory ； oblivion ； biography

參考文獻

王德威(2008)。粉墨中國：性別，表演，與國族認同。戲劇研究。2，169-208。

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