Gaze on/from the Caged Latino Bodies: Imaginary of Tropics and Postcolonial Savage of The Couple in the Cage

《籠中夫妻》的熱帶想像與後殖民野蠻人

Ivy I-Chu Chang

《Tamkang Review》 39卷2期 (2009/06) Pp. 77-104

https://doi.org/10.6184/TKR.200906_39(2).0005

摘要

「熱帶型塑」一詞源自於李維史陀的《熱帶的憂鬱》，後來被拉美研究學者用於研究美國和拉丁美洲之間的文化接觸、翻譯、與移轉。本文將藉此探討拉美裔表演藝術家可可•傅斯可(Coco Fusco)以及古拉莫•葛梅皮納(Guillermo Gémez-Peña)的《籠中夫妻》(The Couple in Cage)，析論其如何運用「民族誌抵拒策略」，挪用熱帶想像中的種族刻板印象，來追溯那被殖民再現機制所壓抑的殘餘記憶和歷史文化差異。他們的表演包括爲期兩年(1992-1993)，在三大洲的大都會的巡迴演出、影像紀錄以及針對表演事件紀錄、回顧、與反思的論文（垮文化表演的另類歷史）(”The Other History of Intercultural Performance”) (1995)。
本文將聯結茱蒂•巴特勒(Judith Butler)的操演(Performativity)理論以及候米•巴巴(Homi K. Bhabha)的「第三空間再現」理論，衍生出新的分析理論模式，來探索《籠中夫妻》如何混雜前西班牙統治期的野蠻人、少數族裔、以及摩登後現代人的風格與形式，在現代都會中和觀眾詭異的邂逅？他們如何利用內／外翻轉的邊境藝術，把自己的身體轉化成社會與文化的論述場域，讓不同的觀念、意識形態、神話、敘事、言說，藉著表演事件而相互激盪、質疑、協商？後殖民野蠻人的表演與操演乃是雙重弔詭的過程，一方面擾亂歐美現代國家及殖民主義的帝國之眼及單一敘事；一方面也激發了少數族裔多元異聲的敘事以及垮國社群的庶民想像。

關鍵字

人拉美裔表演 ； 拉美戲劇 ； 後殖民 ； 操演 ； 第三空間 ； 普世主義 ； 熱帶 ； 庶民 ； 少數族裔 ； 民族誌

並列摘要

”Tropicalization,” first conceived in Levis Strauss' ”Tristes Tropiques,” has been employed by scholars of Latino studies to indicate the cultural contact, travel, translation, and transformation across the United States and its border of the South. Drawing on Coco Fusco and Guillermo Gémez-Peña's performance in The Couple in the Cage, this essay investigates how the two artists recycle tropes and images of Tropics in what they termed ”reverse ethnography,” tracing the disavowed differance of the other and the residual meaning of colonial representation. Their project includes a two-year performance tour around the metropolises in three continents from 1992 to 1993; a video documentary, The Couple in the Cage (1993); and an article, ”The Other History of Intercultural Performance,” (1995) which documents audience responses as well as Fusco's reflections and self-critiques.
Employing Judith Butler's theory of performativity and Homi K. Bhabha's theorization on the Third Space representation, this essay also attempts to inquire: why and how does the artists' hybridization of pre-Hispanic savage, subaltern in style and postcolonial chic, create the uncanny encounter for the spectators in modern metropolises? How do they employ inside/out border art to turn their bodies into the cultural and social arena where ideas, myths, fictions, ideologies, and social models are produced, negotiated, and contested? The performativity of postcolonial savage initiates an ambivalent process which disrupts the unitary gaze and the monolithic narrative of European modernity and colonialism; it brings to panorama the diverse enunciation loci and the complex transnational communities among which the ethnic subalterns endeavor to speak.

並列關鍵字

Latino theater ； border art ； postcolonial ； performativity ； the Third Space ； Cosmopolitism ； tropical ； subaltern ； ethnicity ； theatricality ； ethnography ； cosmopolitan

參考文獻

Adams, Rachel.(2001).Sideshow U.S.A.: Freaks and the American Cultural Imagination.Chicago:U of Chicago P.

Aparicio, Frances R.,Susana Chávez-Silverman(eds.)(1997).Tropicalizations: Transcultural Representations of Latinadad.Hanover:UP of New England.

Bhabha, Homi K.,Homi K Bhabha.(Ed.)(1990).Nation and Narration.London:Routledge.

Bhabha, Homi K.(1994).The Location of Culture.New York:Routledge.

Butler, Judith.(1993).Bodies That Matter: On the Discursive Limits of Sex.New York:Routledge.