現代化之下的褪色鄉土－女作家歌仔戲書寫中的時空語境

一九七○年代至九○年代之間，台灣經歷了不確定的、眾聲紛呈的年代，從「傳統性」到「現代性」的過渡，其實是兩種屬性的衝突、消長、置換，乃至交雜。某種「鄉土」（或謂地方傳統，在此既具空間屬性，亦具時間屬性）已然褪色剝落，而身處西化、現代化潮流的知識份子，懷抱時間的鄉愁，企圖召喚沒落的「鄉土」，歌仔戲即是其一。陳若曦的〈最後夜戲〉即清楚透顯出此種「鄉愁」，以及以「最後夜戲」所隱喻的時代語境－這是一個時代的最後夜戲，某些傳統，終將逝去。1990年凌煙的《失聲畫眉》則透過台灣土生土長的劇種－歌仔戲－以召喚具有台灣意涵的精神鄉土。七○年代以來，在流行、庸俗、工具化的文化操弄機制之下，台灣「鄉土」之中的傳統藝術被現代化拋棄了，而女性身體在流行文化底下，更是工具性地成爲男性慾望觀想的客體，〈最後夜戲〉預言著舞台即將荒老，《失聲畫眉》寫出了這個年代的某個精神圖像；舞台，這個流動的封閉空間，遊走在一個一個變遷中的台灣鄉土中，演義著一齣齣不斷複製的物慾、性慾交媾的戲文。

關鍵字

現在性；傳統；鄉土；歌仔戲；台灣在場

並列摘要

Taiwan was a time of uncertainty and cultural heteroglossia from 1970s to 1990s. The transition from traditionality to modernity was a process of conflict, rise and fall, replacement and hybridization of these two forces. A certain sense of the indigenous (or the traditional) quickly disappeared. Feeling nostalgic in the current of westernization, intellectuals tried to summon back the local spirit by different means, one of which was Taiwanese Folk Opera. Chen Ruo-xi's ”The Last Evening Show” clearly witnessed this nostalgia and effort. As the title suggested, it described the doom of an irretrievable lose of certain tradition, like the last evening show. In 1990, Ling Yan's The Thrush that Lost Her Voice turned to a native art form, the Taiwanese Folk Opera, to summon a Taiwanese spirit of homeland. Since 1970's, many traditional Taiwanese arts were abandoned, taken over by popular, vulgar, and instrumental culture. Women's body, under the same mass cultural manipulation, became the object of male gaze and desire. ”The Last Evening Show” foretold that ”the stage” was to be wasted, and The Thrush that Lost Her Voice captured the spirit of the vanishing era in its own way. ”The stage” was a closed but mobile space, turning out, one after another, phantoms of the changing Taiwan, continuously playing the shows of duplicated desire for sex and materials.