- 期刊
畫家妻女的鄉愁與獨白：看郭柏川紀念館展演的兩代離散女性敘事
The Nostalgia and Soliloquize of an Artist's Wife and Daughter: The Reviews of Two Generations of Women in Diaspora of Performances in the Memorial Hall for Painter Kuo Po-Chuan
摘要
2012年那個劇團在畫家郭柏川的故居，先後展演兩齣特定場域的表演作品：《畫外》和《私信》，前者是該空間首度與戲劇結合，以戶外移動式的方式進行演出，後者演出空間則在郭家故居室內。兩齣作品皆為結合特定歷史空間為展演場域的劇場作品，演出曾經真實生活其內的人物的故事。而這兩部作品的展演，也讓臺南市公園路321巷這處日治時期的日軍官舍群，重新受到注目，促使此地的古蹟與文化資產的保存議題得以被政府重視，並於隔年正式規劃為「321巷藝術聚落」，作為藝術家創作和生活的場域。本文分別就二劇中的主要角色－朱婉華與郭為美，作為後殖民社會中的兩代離散女性人物，探討如何在戲劇展演中敘說她們細膩幽微的人生故事，並不可避免地與其身旁重要的男性人物－郭柏川，產生綿密的關係與影響，進而分析這兩齣選擇在郭柏川故居展演的戲劇作品，如何能在創作內涵和展演手法上，呼應創作者將戲劇核心及觀眾目光導向對特定場域空間的注視、興趣與理解。
並列摘要
In 2012, THAT Theatre Troupe performed two site-specific works, Paintings and Private Letter, in the former residence of the painter Kuo Po-Chuan. The first work was the first time for this place to combine the theatre with outdoor performance space, and performance space of the second work was actually inside Kuo's previous residence. Both of these works combined a specific historical space with a site-specific performance, and they represented real-life stories about the characters who actually lived in the place before. Moreover, they also focused attention on the Japanese official residences of the Japanese colonial period, which are now in Alley 321, Park Road in Tainan City, leading to serious discussions on preserving historical and cultural heritage. The performances of these two works promoted the cultural value of these monuments to the government, and in the following year the area was formally designated as ＂Art Alley 321 settlements＂, becoming a place for artists' creation and life. In this paper, the author separately discusses the two main characters: Zhu Wan-Hua and Kuo Wei-Mei who play females from two different generations within the post-colonial diaspora society, and investigates how to they narrate their sensitive and delicate life stories in the theatre. Inevitably they produce a tight-knit relationship alongside the important male figure, Kuo Po-Chuan. The two works chosen for performance in the residence of Kuo Po-Chuan echoed the dramatic core of the artist, and won the attention of the audience. Finally, they lead the spectators to consider, take interest and develop an understanding of site-specific performance.