本論文的重點在於分析台灣實驗劇場工作者所進行的實驗中,如何開始將劇場視為一種藝術烏托邦的形式,或者更精準地說如何受到西方藝術烏托邦思想的影響,將自身藝術創作的目標,設定在社會生活中烏托邦狀態的追求。我們所要強調以及論述的是:台灣的劇場藝術家,無論是在社會或政治意義上將劇場視為烏托邦的建構路徑,還是將焦點放置在他們作品中的烏托邦主題上,其實都和每個時代意識型態的建構或除魅息息相關。 因此在這樣的基礎下,我們所試圖建構出來的論述脈絡如下。首先我們將透過檢視1970年代現代主義劇場工作者張曉風《武陵人》所引發的現象,找到當時台灣劇場體制中的身體觀和文學公共領域的初級狀態,並討論這個劇場體制的成型和當時官方大論述邏輯之間的關係。接著我們要討論1970年代末至1980年代中,新的劇場體制如何在台灣小劇場實驗劇時期誕生,並追索這個新的劇場體制如何形塑新的劇場身體觀以及擴大了原先的文學公共領域,在此賴聲川《暗戀桃花源》將是我們的重點所在。接著我們將說明在1986年以後,台灣小劇場前衛劇時期所誕生出來的兩種劇場形式,如何受到當時台灣啟蒙論述(文化啟蒙和政治啟蒙)的影響,並將劇場形式( 新的身體訓練方式及公共領域的打造)轉化為啟蒙的手段,進而建構出一種劇場烏托邦行動。在此優劇場的溯計畫當中的身體溯源行動,和在遊行當中成為焦點的社會行動劇將是我們討論的重點。
This thesis focuses on how the Taiwan experimental theatre is influenced by the western utopian ideal which also forms the avant-garde theatre in the twentieth century. In the thesis my approach is to analyze the ideology of Taiwan from 1970 to 1989, which are prevalent but not yet explored. What I am attempting to emphasize is this: the artists of Taiwan experimental theatre have profoundly involved in constructing, as well as the disenchanting, the ideology of their own epoch, whether they view the theatre as the path to a social or political utopia, or they employ utopia as the theme of their theatrical work. My thesis will be divided into four parts as follows. First, through examining the 1970s Taiwan modernist theatre, I look into the concept of the primary public sphere and the theory of body. Second, I will probe into the new theatre art institutes from the late 1970s to the early 1980s, in order to find out the transformation of public sphere and the theory of body. In addition, I will further study how the utopian theme transforms into the utopian social action or event in Taiwan people’s daily life during the late 1980s. That reveals the cultural evolution and political revolution.