小劇場運動的視覺文化譜系與歷史剪輯：重探「河左岸」的《兀自照耀著的太陽》

回顧臺灣1980年代末小劇場運動，伴隨解嚴浪潮，高舉社會介入與政治參與，其強烈的影像風格深受論者關注。本文回顧劇場影像的歷史剪輯與觀念再現，分析其中的斷裂與嫁接。重探「河左岸」在1987年改編陳映真1965年出版之短篇小說〈兀自照耀著的太陽〉，細究尚待解析的複雜環節。相較於原版小說以青年教師的視角討論戰後未解的去／殖民問題，在劇場改編中，早逝少女與慘死礦工成為代言社會主義理想青年的熱情悲亢。陳映真小說的歷史紋理與個人情慾矛盾在劇場改編中淡化，轉身以觀念造型的肉身來構畫控訴階級差異的影像。本文無意否定改編作品的美學實驗，而是考察在冷戰全球化與戒嚴禁令之下，1960年代以來形構的視覺文化譜系如何影響1980年代末小劇場的觀念實踐？透過小說的以及劇場的「兀自照耀著的太陽」，分析其所體現內在於臺灣歷史之認識觀點的斷裂、偏移與嫁接。藉此，或許戰後臺灣劇場史的認識便不僅是既定美學知識所能概括，而是思想工作的起點。

關鍵字

冷戰全球化；戒嚴／解嚴；觀影文化；小劇場運動；劇場影像

並列摘要

Along with the social engagement and political participation surfing with the Lifting of Martial Law, the visual expressiveness of the works presented during the Taiwan Little Theatre Movement in the late 1980s has attracted the attention of critics. This article reviews and analyses the works and their theatre-image presented during this particular period and the historical editing produced by the presentations composed of ruptures and articulations. Compared with Ying Zhen Chen's original short story, published in 1965, the adaptation made by Rive-Gauche, presented in 1987, "The Sun That Still Shines On" is a complex piece of work worthy of analysing. On the one hand, Chen focused on the incomplete decolonisation from the perspective of a young teacher in Taiwan who represented the post-WWII generation. On the other hand, in the adaptation, the young girl, who died for good, and those miners, who died for nothing, reversely became the immortal martyrs worshipped by the young idealistic socialist. The adaptation diluted and transformed the contradictions intertwined with the historical context and personal desire in Chen's story. By presenting bodies composed of the ideoplastic manoeuvre, Rive-Gauche's transformation deploys the image of an idea accusing the inequality of class difference. This article does not intend to negate the aesthetic experiment of the adaptation but to analyse, under the intellectual condition confined by the Cold War Globalisation and the Martial Law, how a visual genealogy formed since the 1960s has affected the conceptual practice of Taiwan's Little Theatre in the late 1980s. As a short story and a theatrical adaptation, the analysis of "The Sun That Still Shines On" is an epistemological reflection on the rupture, deviation and articulation inherent in contemporary Taiwan history. Moreover, this article proposes to revisit the history of modern theatre in Taiwan apart from the given aesthetic knowledge and reconsider it as the starting point for remapping the intellectual situation confined by certain historical conditions.

並列關鍵字

Cold War Globalisation ； Martial Law & its Lifting ； Viewing Experience & Visual Culture ； Taiwan's Little Theatre Movement ； Theatre-Image

參考文獻

葉根泉（Yeh, Ken-Chaun）。2016。《身體技術作為工夫實踐：60至90年代臺灣現代劇場的修「身」》Shenti jishu zuowei gongfu shijian 60 zhi 90 nian dai Taiwan xiandai juchang de xiu “Shen” [Technology of the Body as a Practice of Self-Cultivation: Askesis and Body in Taiwanese Modern Theatre, 1960s to 1990s]。臺北（Taipei）：國立臺北藝術大學（Taipei National University of the Arts Press）。

Balme, Christopher, and Berenika Szymanski-Düll. 2017. “Introduction,” in Theatre, Globalization, and the Cold War, edited by Christopher Balme and Berenika Szymanski-Düll, pp. 1-25. London: Palgrave Macmillan.

Cumings, Bruce. 2002. Parallax Visions: Making Sense of America-East Asian Relations. Durham: Duke University Press.

Jameson, Frederic. 1997(1991). Postmodernism, or The Cultural Logic of Late Capitalism. Durham: Duke University Press.

王墨林（Wang, Mo-Lin）。1990（1988）。〈小劇場運動的迷思─關於1987的劇場總結〉“Xiaoju changyundong de misi - guanyu 1987 de juchang zongjie” [The Dialogue Between Spaces ]，《都市劇場與身體》Dushi juchang yu shenti [City, Theatre & Body]，王墨林（Wang, Mo-Lin）著，頁155-167。臺北（Taipei）：稻鄉（Daw Shang Publishing Co.）。

Google Scholar

主題瀏覽