劇本敘事中的家・國再造： 以李國修、紀蔚然、吳念真劇作為核心

八〇年代的小劇場運動是臺灣現代戲劇與劇場發展上的分水嶺。在美學上，小劇場運動逐漸揚棄了盤桓臺灣戲劇創作年深日久的寫實主義，從實驗劇場開始，而前衛劇場，在八〇年代後半發展出反敘事、反文學性、反鏡框舞臺、去中心意義、解構的後現代劇場風格。在意識形態上，則從反共抗俄、大中國主義等由統治官方宰制的集體大敘述中解放出來，並與解嚴後勃發的本土主體意識呼應，勇於涉入過往被視為言論禁忌的種種議題，也各式的社會運動或政治場合現身，使劇場從過去的政策宣傳工具，一轉而為激進的社會抗爭利器。美學與政治的雙重轉向，造成的影響之一是，導演劇場的興起，劇作家與劇本的影響力式微，甚至遭到劇場排除。九〇年代後，雖純粹能以劇作家身份持續寫作，並獲得演出製作的創作者，紀蔚然是其中之少數，但多數劇場創作者則同時擁有包括劇作家、導演、演員等複合式的創作主體，如李國修、王友輝、汪其楣等，而吳念真則是從電影的編導轉進劇場創作領域，足見此時期劇作家跨域之多元。本文試圖從美學與政治的二元對立分法中另闢蹊徑，觀察前衛劇場潮流與解嚴之後，實際投入劇本寫作並演出的李國修、紀蔚然、吳念真等三位劇作家作品，他們在導演做為創作主體的當代劇場裡發展出什麼樣的劇本敘述策略，衍異出新的美學形式？其中，編導演三位一體的李國修，以拼貼與後設的結構，打散線性敘事的封閉性與整體性，探問個體記憶的虛實真假；紀蔚然則透過「反傳統的敘事模式」，突出說話者的欲望和主體，質疑寫實、客觀敘事的可靠性；從電影轉進劇場的吳念真則結合了通俗劇敘事與臺灣新電影的新寫實主義美學，將可能是規訓式的集體大敘述轉化成抒情的個人微型敘述。同時，也援引解嚴後臺灣文學學界的後殖民論述，及另外演繹出的本土後遺民寫作研究，討論三位劇作家在面對本土主體意識興起的新政治敘述時各自殊異的創作關懷。身為外省第二代的李國修面對主體意識的轉換，油然而生花果飄零的感嘆與焦慮，這樣的困境或許不完全來自於自己的不認同，而是本土情境本身所形成的排他性，他是一個被排擠出去的他者，於是，他只能後設式的透過自己的創作打造一個只有不在了的父親（和自己）存在其中的理想（家）國。對於本土主流論述對於家國的重塑，紀蔚然則採取激進亦虛無的解構策略，集體的大敘述實則只是集體的妄想，明顯呼應了後殖民的多元差異觀點。吳念真則往往採取女性視角來觀照男性的敘述霸權，構成了家與國雙重壓迫下幽微的女性史詩。在美學與政治的雙線對照下，勾勒出劇本創作在集體敘述瓦解之後，如何重塑自身的敘述策略，又如何回應現實的多元發展。

關鍵字

臺灣現代戲劇；本土論述；李國修；紀蔚然；吳念真

並列摘要

The Small Theater Movement in the 1980s was a watershed in the development of modern drama and theater in Taiwan. Aesthetically, the movement gradually abandoned the realism trend that had been lingering the modern drama in Taiwan for a long time. It started from experimental theater, and avant-garde Theater developed anti-narrative, anti-literary, anti-framed stage, decentralization and deconstructed postmodern theater style in the second half of 1980s. In terms of ideology, it liberated the collective narrative that dominated by the ruling governments, and encouraged the consciousness of local subjectivity after the lifting of martial law. By the movement, the theater became a radical weapon for social resistance, which used to be propaganda purposes. As the aesthetics and political tendency of modern theatre in Taiwan changed, the directorial theater arisen. In 1990s, Wei-jan Chi was one of the few playwrights that only focused on play-writing. Most of the theater makers in that time took multiple positions in one production, including directing, play-writing and acting, such as Hugh K.S. Lee, Yu-Hui Wang, Chi-Mei Wang, etc. Nien-Jen Wu was one of those who moved from film to theater, shows the diversity of playwright environment. This dissertation focus on three playwrights: Hugh K.S. Lee, Wei-jan Chi and Nien-Jen Wu, attempts to find a new way from the binary opposition between aesthetics and political tendency to analyze their works. What kind of script narrative strategies and aesthetic forms have been derived in the contemporary directorial theater? Among them, Hugh K.S. Lee , the three-in-one writer, actor and director, uses the structure of collage and meta-scenario to break the integrity and closure property of linear narratives, so to explore the true and false of individual memories; Wei-jan Chi uses "anti-traditional narrative mode" to strengthen the desire and subjectivity of the characters, in order to question the reliability of realistic and objective narrative; Nien-Jen Wu, who moved from film to theater, combined melodrama narrative with the neo-realistic aesthetics of new Taiwanese films, turned disciplinary collective narrative into a lyrical personal micro-narratives. In the meanwhile, the dissertation also cites the post-colonial discourses in Taiwanese literary academia after the lifting of martial law and the research on the writing of native descendants, trying to discuss three playwrights' unique creative concerns while facing the new political narrative with the rising of native subjectivity. Hugh K.S. Lee is the second generation from other provinces, was anxious while facing the changing of the subject consciousness. This predicament may not comes entirely from his own resistance to the country, it may counts on the exclusivity form that made by the local situation. Being an excluded other, he can only metaphorically create an ideal (home) country in which his absent father (and himself) exists only. Wei-jan Chi takes a radical deconstruction strategy on the consciousness of country reshaping. It shows that the collective narrative is merely a collective delusion, which clearly echoes the post-colonial view of pluralism. Nien-Jen Wu often takes female perspective to deal with the male narrative hegemony, which consists a subtle female epic under the dual oppression of family and country. Under the contrast between aesthetics and political tendency, the dissertation outlines how the script creation reshaped its own narrative strategy after the collapse of the collective narrative and how it responded to the diverse developments of reality.