轉譯十七世紀大肚王國：《大肚王傳奇》之博物館／劇場形式、歷史再現與拍瀑拉族想像

Translating/Performing the Seventeenth Kingdom of Dadu: Representing History and Imagining the Papora in the Museum Theatre The Legend of King Dadu

林雯玲(Wen-Ling Lin)

《戲劇學刊》 35期 (2022/03) Pp. 7-35

摘要

本文跳脫以量化評估學習效果的博物館劇場研究傾向，轉而從演出形式與歷史再現兩大面向來探究國立臺灣歷史博物館委製的互動式博物館戲劇《大肚王傳奇》（2009；2013）。該劇描繪十七世紀位於臺灣中部、以拍瀑拉族為主組成的大肚王國先後在荷蘭人和漢人攻打下由盛轉衰的歷史故事，因其演出長度和場域均跨越博物館劇場，而有了一般劇場的混雜特質，不僅可以用來審視博物館劇場企圖兼顧教育性與藝術性所展現的可能性與面臨的挑戰，它也是臺灣劇場首度以十七世紀平埔族為主角的歷史展演，而有雙重的重要性。本文簡短梳理臺史博在臺灣博物館劇場發展的脈絡與研究現況後，第一部分探討《大肚王傳奇》的特殊戲劇形式，包括互動設計、被觀看的互動觀眾、轉譯的戲中戲與雙重時空結構等如何寓教於戲。第二部分探討該劇從檔案轉換為劇目的歷史敘事與歷史再現的挑戰，尤其是平埔族人首度成為主角，他們的故事為何？遵循檔案的敘事模式有何突破與侷限？和其他以荷蘭治理時期為背景的劇目有所差異嗎？又如何在舞台再現十七世紀的拍瀑拉族？

關鍵字

《大肚王傳奇》 ； 博物館劇場 ； 十七世紀臺灣 ； 歷史再現 ； 拍瀑拉族 ； 互動戲劇

並列摘要

Instead of evaluating the effectiveness of the interaction-oriented museum theatre through quantitative research, this article examines performing styles and the ways to represent the history of The Legend of King Dadu, commissioned by the National Museum of Taiwan History. This play depicts how the peaceful, self-sufficient Kingdom of Dadu, composed mainly of the Papora tribe living in central Taiwan in the seventeenth century, declined after the attacks of first the Dutch and then the Han. Due to its length and performance venue, a fusion of museum and typical theatre, The Legend of King Dadu becomes a parameter through which the attempt by the museum theatre to coordinate educational and aesthetic concerns can be assessed for possibilities and challenges, and marks the first appearance of seventeenth century Pingpu people in Taiwanese theatre. After briefly reviewing the development of Taiwan's museum theatre, this article first examines how the achievement of educational goals are facilitated by the unique structure of The Legend of King Dadu, which includs strategies of audience interaction, the structure of play-within-a-play, the transformation of part audience members into participants and parallel timelines, and so on. The second part focuses on the challenges of maintaining truthfulness when turning historical documents into a narrative plot, especially with indigenous peoples as the main subject. Care was taken in asking the following questions: How is the story of the Papora told? What are the benefits and limitations of sticking to the archive? How is this performance different from other shows set in the seventeenth century Dutch colonial period? How should the seventeenth century Papora be represented on the stage?

並列關鍵字

The Legend of King Dadu ； the museum theatre ； the seventeenth century Taiwan ； historical representation ； the Papora ； the interactive drama

參考文獻

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