16 Journal of Theater Studies 2015 7 217-252 DOI: 10.6257/JOTS.2015.16217 * 前 言 activist * -217-
Judith Butler Athena Athanasiou Dispossession: The Performative in the Political dispossessed subject Marriam-Webster dispossessed deprived of homes, possessions, and security 1 manifesto 1 Judith Butler and Athena Athanasiou, Dispossession: The Performative in the Political (New York: Polity, 2013), p. xi. -218-
2 1907-1975 2 http://rosy-land.weebly.com/27010245652830436215. html 2014 11 05-219-
3 一 私 記 憶 的 極 度 疏 離 化 複 調 敘 事 與 根 莖 編 劇 4 5 3 31 7 2002 11 41-58 4 5-220-
6 Bertolt Brecht 1898-1956 7 8 6 7 Bertolt Brecht, Brecht on Theatre: The Development of an Aesthetic, eds. Steve Giles, Marc Silberman, and Tom Kuhn, trans. John Willett, 13th edition (London: Hill and Wang, 1964), pp. 276-281. 8 1-221-
9 Augusto Boal Theatre of the Oppressed 10 9 4 10 4-222-
11 Diana Taylor Archive Repertoire 12 13 11 Paul Ricoeur, Memory, History, Forgetting, trans. Kathleen Blamey and David Pellauer (Chicago: University Of Chicago Press, 2004). 12 Diana Taylor, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham: Duke University Press Books, 2003), pp. 16-52. 13 3-223-
Gilles Deleuze Félix Guattari A Thousand Plateaus rhizome 14 15 14 Gilles Deleuze and Félix Guattari, A Thousand Plateaus, trans. Brian Massumi (Minneapolis: University of Minnesota, 1987), pp. 7-25. 15 simulacrum Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser (Ann Harbor: University of Michigan Press, 1995), pp. 1-6. -224-
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Roland Barthe 1915-1980 empty signifier body without organs 16 16 Gilles Deleuze and Félix Guattari, A Thousand Plateaus 1987 2009 Gilles Deleuze 2000-226-
二 受 逐 屬 性 自 反 性 戲 劇 語 言 -227-
17 2034 18 17 3 18 2011 21-33 -228-
self-reflexivity 19 20 19 5 20 7-229-
21 22 23 24 21 11 22 11 23 13 24 13-230-
25 necessary error 26 queer Michael Warner Fear of A Queer Planet 27 25 16 26 Judith Butler, Critically Queer, GLQ 1.1 (1993): 17-32. 27 Michael Warner, Fear of Queer Planet: Queer Politics and Social Theory (Minneapolis: University of Minnesota Press, 1993), p. xiii. -231-
productive hegemonic Lee Edelman 28 29 28 Lee Edelman, No Future: Queer Theory and the Death Drive (Durham: Duke University Press, 2004), pp. 1-31. 29 9-232-
30 三 舞 台 符 號 的 操 演 性 中 性 之 椅 與 策 展 劇 場 31 Keir Elam 30 Marga Gomez Carmelita Tropicana Split Britches 31 2008-233-
32 32 Keir Elam, The Semiotics of Theatre and Drama (London ; New York: Routledge, 2002), pp. 1-28. -234-
Peter Brook The Empty Space 33 34 33 Peter Brook, The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate (New York: Touchstone, 1995), p. 9. 34-235-
35 36 37 38 35 Bill Brown, Thing Theory, Critical Inquiry 28.1 (2001): 1-22. 36 Artalks 2014 5 31 http://talks.taishinart.org.tw/juries/chh/2014053103 2014 11 10 37 Marvin Carlson, The Haunted Stage: The Theatre as Memory Machine (Ann Arbor: University of Michigan Press, 2003), pp. 1-16. 38 18-236-
39 Benedict Anderson Imagined Communities 40 四 從 規 訓 肉 身 到 抗 爭 肉 身 41 39 Jacques Ranciere, The Emancipated Spectator (London: Verso, 2011), pp. 1-24. 40 Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 2006), pp. 5-7. 41 6-237-
42 43 44 42 2014 Artalks 2014 4 29 http://talks.taishinart.org.tw/juries/cts/2014042905 2014 11 10 43 44 Peter Brook, Body Work: Objects of Desire in Modern Narrative (Cambridge, Mass: Harvard University Press, 1993), pp. 7-22. -238-
45 45 18-239-
Michel Foucault 1926-1984 Discipline and Punishment 46 panopticism 47 46 Michel Foucault, Discipline & Punish: The Birth of the Prison, trans. Alan Sheridan (New York: Vintage, 2012), pp. 3-31. 47 195-200 -240-
Marianne Hirsch postmemory 48 48 Marianne Hirsch, The Generation of Postmemory, Poetics Today 29.1 (2008): 103-128. -241-
49 50 49 3 50 14-242-
2014 OK 51 OK 52 53 Susan Leigh Foster Choreographies as Protest choreographing 51 52 53 18-243-
politics 54 Randy Martin mind 55 56 54 Susan Leigh Foster, Choreographies as Protest, Theatre Journal 55.3 (2003): 395-412. 55 Randy Martin, Performance as Political Act: The Embodied Self (New York: Praeger, 1990), pp. 1-12. 56 Judith Butler, Critically Queer, GLQ 1.1 (1993): 17-32. -244-
57 58 59 60 corporeal vulnerability 61 57 2009 5 58 19-21 59 142 60 Judith Butler and Athena Athanasiou, Dispossession: The Performative in the Political (Malden, MA: Polity, 2013), p. 99. 61 101-245-
結 論 Konstantin Stasnislavsky 1863-1938 -246-
62 62 18-247-
關 鍵 字 : 臺 灣 抗 爭 受 逐 自 反 性 當 代 劇 場 -248-
Protesting Self-reflexive Theatricality: The Cyclops Troupe s The Rose Colored Country Fan-ting CHENG Assistant Professor, Graduate Institute of Performing Arts, National Taiwan Normal University Wei-chih WANG PhD Candidate, Department of Comparative Literature, Pennsylvania State University From 2013 to 2014, a series of citizen demonstrations took place in Taiwan, reflecting the group conflicts, political traumas, and imaginings of identity layered and accumulated on this island over half a century. The Cyclops Troupe s experimental production The Rose Colored Country, premiered in 2013 at Keelung Cultural Center, weaves together local historical events and social movements through rhizomic and heteroglossic narratives, presenting the performative subjects possible agency and their limits. Employing national/insular identity theories, queer epistemologies, performance analysis, and concepts of political-aesthetic alliances, this paper develops Judith Butler and Athena Athanasiou s notion of dispossession into a model that helps investigate the theatrical disposition of the piece, including the script, the narration, the staging, the acting, and the entire mise en scène of the theater space. This paper argues that the hyper-reflexive theatrical aesthetics of The Rose Colored Country reveal its ambivalent political character of being incorporation and resistance, underscoring the ways in which performative subjects struggle between constructedness and decolonization. These tactics expose the complex apparatus of the politicalaesthetic production and constitute a guerrilla form of protest that highlights how the performance on stage flexibly engages with and against performances off stage. Keywords: Taiwan Protest Dispossession Self-reflexivity Contemporary Theater -249-
徵 引 書 目 2009 2008 31 7 2002 11 41-58 Artalks 2014 5 31 http://talks.taishinart.org.tw/juries/chh/2014053103 2014 11 10 2014 Artalks 2014 4 29 http://talks.taishinart.org.tw/juries/cts/2014042905 2014 11 10 2011 2009 http://rosy-land.weebly.com/ 27010245652830436215.html 2014 11 05 Gilles Deleuze 2000 Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 2006. Baudrillard, Jean. Simulacra and Simulation. Trans. Sheila Faria Glaser. Ann Arbor: University of Michigan Press, 1995. Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Eds. Steve Giles, Marc Silberman, and Tom Kuhn. Trans. John Willett. 13 th Edition. London: Hill and Wang, 1964. Brook, Peter. Body Work: Objects of Desire in Modern Narrative. Cambridge, Mass: Harvard University Press, 1993.. The Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate. New York: Touchstone, 1995. Brown, Bill. Thing Theory. Critical Inquiry 28.1 (2001): 1-22. Butler, Judith, and Athena Athanasiou. Dispossession: The Performative in the Political. Malden, MA: Polity, 2013. Butler, Judith. Critically Queer. GLQ 1.1 (1993): 17-32. Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: University of Michigan Press, 2003. Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: University of Minnesota Press, 1987. Edelman, Lee. No Future: Queer Theory and the Death Drive. Durham: Duke University Press, 2004. -250-
Elam, Keir. The Semiotics of Theatre and Drama. London: Routledge, 2002. Foster, Susan Leigh. Choreographies as Protest. Theatre Journal 55.3 (2003): 395-412. Foucault, Michel. Discipline & Punish: The Birth of the Prison. Trans, Alan Sheridan. New York: Vintage, 2012. Hirsch, Marianne. The Generation of Postmemory. Poetics Today 29.1 (2008): 103-128. Martin, Randy. Performance as Political Act: The Embodied Self. New York: Praeger, 1990. Ranciere, Jacques. The Emancipated Spectator. London: Verso, 2011. Ricoeur, Paul. Memory, History, Forgetting. Trans. Kathleen Blamey and David Pellauer. Chicago: University Of Chicago Press, 2004. Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press Books, 2003. Warner, Michael. Fear Of A Queer Planet: Queer Politics and Social Theory. Minneapolis: University Of Minnesota Press, 1993. -251-
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