解嚴政治與冷戰美學： 重探臺灣小劇場運動(1986-1996)的話語與實踐

針對解嚴前後強調「反體制」之劇場運動的話語與實踐，本文的工作一則是歷史化小劇場運動(1986-1996)，另一則探討此歷史階段中劇場展演的政治性。面對經歷解嚴的小劇場運動，本文的重探並非確認政治效益與核對美學知識，相對地，我試圖探究難以離開戒嚴、結束冷戰的內在困境，並書寫劇運話語與實踐介入此歷史過程所拉扯的辯證地帶。首先，本文將分析戰後臺灣現代劇場以小劇場作為話語形構所產生的斷裂與連接。此話語形構不僅切斷戰前臺灣與東亞現代劇場與思想的連帶，官方政策也有意將西方現代劇場知識挪用為治理手段。但弔詭的是，西方知識亦是戰後臺灣知識青年逃逸戒嚴高壓治理的創作渠道。因此，本文將切入的視角推進歷史縱深，以釐清西方知識對象與本地劇場操作產生關係的條件。藉由戰後政治經濟體制的分析，我將提出戒嚴與冷戰的共構性如何規範現實生活與思想走向的習性，如何以解嚴轉型貼合「自由化」的理念，從而收束歷史過程中複雜的感知經驗與多重意義的生發。此物質條件的分析或能協助理解小劇場運動時代的知識狀況，並建立本文以冷戰與解嚴體現戒嚴內外部關係的時代性視角。如此面對劇運引動的文化現象，便不能孤立地理解，而必須審視內在於小劇場運動的認識論，且以解嚴與冷戰交錯的節點，展開政治與美學的重探。於是，藉由王墨林在80年代末參與小劇場運動所探索的感知顛覆動力，以及洪席耶(Jacques Rancière)關於感知分配／共享的政治美學與理論，我將分析小劇場運動時代的感知構造，並以個別具代表性的話語生產與實踐作品來探究：通過解嚴的歷史脈絡，小劇場運動所謂的「反體制」性質是否且又如何鬆動戒嚴與冷戰雙重制約的條件?為了回應此根本的問題，我提出的冷戰美學將討論感知經驗如何去介入並顛覆出的某種政治性動力，以及如何可能收攏為特定感知構造的治理性要求。解嚴政治則涉及其內核的美學問題，如何持續重劃，但又可能依附戒嚴與冷戰共構性的既定感知構造。本文將逐步分析論者以「西潮論」和「革命論」所提出小劇場運動的認識話語、針對體制時代結構的批判性介入、冷戰全球化對表演手法的影響、解嚴後的本土化轉向，以及逾越結構性制約的政治性展演。最後，我也試圖回應，在複雜的歷史脈絡中，藝術作品引動的政治性是什麼?藉由田啟元(1964-1996)作品對戒嚴經驗的改寫，我認為，藝術的政治性必然是介入特定時代經驗的展演，但並非確認對立性立場或回歸本土性原初，而是扯開原本規範在穩定結構中的視而不見與難已言說，就此改寫我們自身的經驗，從而展開自身歷史之異質性的重探。

關鍵字

臺灣小劇場運動；戒嚴與冷戰；冷戰全球化；解嚴；王墨林；田啟元；感知機制與歧感

並列摘要

In regard to the discourses and the practices of the theatre movement emphasizing "Anti-establishment" during the period of lifting of Martial Law the purposes of this dissertation are, on the one hand, to historicize "Taiwan's Little Theatre Movement" from 1986 to 1996, and on the other hand, to probe into the politics of theatrical presentations and their aesthetic forms during this historical period. Nevertheless, in consequence of the obvious effect following by the end of Martial Law period, the main question of this dissertation is not to re-confirm the real-political accomplishment nor re-examine the aesthetic knowledge of "Little Theatre Movement." Yet, accordingly and historically, I am going to argue in which ways the discourses and the practices of the theatre movement has presented the complex dialectical course driven by the affection of Martial Law and Cold War. This dissertation will begin with analyzing how "Little Theatre" as certain process of discursive formation that generates the epistemological breaks and reconnections of knowledge of Taiwan's modern theatre. I am going to argue that the discursive formation in different historical period has not only cut off the pre-WWII connection of theatre movement and its artistic thought between Taiwanese artists and thinkers and those of East-Asia, including Japan and mainland China, but also been articulated as the governmental strategy, officially and non-officiallknowledge to establish the cultural policy and the cultural imagination. y, by reappropriating the particular western theatrical. In effect, paradoxically, after WWII, the western knowledge was still the limited access for young Taiwanese intellectuals and artists to escape the high pressure Martial Law governance. In accordance with the complex intellectual conditions, I will probe into the historical context that has constituted the relationship between western knowledge and Taiwan's modern theatre. In regard to the political economic system I will address how the co-figuration of Martial Law regime and Cold War order has regulated the ordinary life and the certain way of thinking, or in short, the particular kind of "ethos" in Taiwan. Thus, accordingly, through the "liberalist" transformation from 60s to 80s and the so-called "democratization" after the lifting of Martial Law, I will argue how this very "ethos" has brought complex sensible experiences and multi-layer meaning of historical changes to a close. On the basis of the political economic analysis of material conditions of post-war Taiwan, I shall build up my historical perspective on the end of Martial Law period and Cold War as the internal and the external coordinates that has indexed the affection and the aftermath of Martial Law regime. In addition, I will follow the same historical perspective to intervene the intellectual context of the "Taiwan's Little Theatre Movement." Therefore, I will suggest that the cultural phenomena induced by the theatre movement could not been understood solely by certain existing forms of theatrical knowledge. For the first part of this dissertation, I will probe into the inherent epistemological layers of "Taiwan's Little Theatre Movement." Through the above historical and intellectual context, in order to further analyze the sensible configuration in the age of "Taiwan's Little Theatre Movement, " I juxtapose WANG Mo-Lin's exploration of subversive force of the sensible that he has emphasized while participating the theatre movement as well as the theoretical thinking of politics and aesthetics concerning the distribution of the sensible raised by Rancière. Through the discussion of specific discursive production and artistic practices, I will argue whether or not the so-called "Anti-establishment" raised by "Taiwan's Little Theatre Movement" has really loosen the restriction regulated by the co-figuration of Martial Law regime and Cold War order. In order to probe into this main question of the dissertation, I shall propose my arguments about politics and aesthetics. I address the analysis of Cold War Aesthetics to discuss, on the one hand, how the sensible experience could be transformed into the subversive force and act out as a certain form of political force, and, on the other hand, how the sensible configuration as well as the regime of the sensible could brought the various multitude of experience to a close. By the same theoretical perspective, I also address the analysis of Politics of the End of Martial Law Period concerning the core problematics of the sensible or that of the aesthetics. I will argue how the Politics has re-configured or re-attached to the co-figuration of Martial Law regime and Cold War order. Within the developmemnt of these arguments in different chapters, I will discuss and analyze the following discourses and practices in detail: the epistemological discourses raised by "West-tide Thesis" and "Revolutionary Thesis, " the critical understanding to the historical structure of Establishment, the artistic practices and their performance techniques influenced by Cold War Globalization, the localization turn of "Taiwan's Little Theatre Movement" following by the end of Martial Law, and the political presentation transgressing the structural conditions. Finally, through the historical analysis of "Taiwan's Little Theatre Movement," I would like to address the question of what the political presentation induced by work of art is. I will discuss how TIAN Chi-Yuan's(1964-1996)works re-write the multitude of experience of Martial Law period. With this discussion, I will propose that only through the intervention in the experience of certain historical period that the political presentation induced by work of art would unfold; even so, what could be conceived as political is neither the presentation reconfirming the existing distribution of opposition as the so-call "Anti-establishment" often insisted, nor the presentation conjuring the primitivism out of local life as the localization turn summoned. It is the presentation that has torn a split out of the existing static sensible configuration, in which the invisible and the unspeakable would be brought into the present. Thus, the political suggest that the artistic presentation has rewritten our experience, opened up the split inside us, and begun retreating the heterogeneous within our own history.

並列關鍵字

Taiwan's Little Theatre Movement ； Matial Law Period and Cold War ； Cold War Globalization ； the End of Martial Law Period ； WANG Mo-Lin ； TIAN Chi-Yuan ； Regime of the sensible and Dissesus