女同志戲劇《一百種回家的方法》中的親職展演

Abstract

本文以《一百種回家的方法：劇本紀錄》（2009）作為研究個案進行檔案研究，重構女同志戲劇中的關係實作。該劇有兩個演出版本，均演繹自「全國邊緣同志口述歷史工作小組」自2000年起的訪調，分別是2007年9月台北版和2007年11月台東版的演出；後者將前者刪節後融入論壇劇場，造就截然不同的觀演關係。本文將反記憶視為一種修復式閱讀，耙梳歷來的女性在劇場中體現的殖民現代性及其抵抗性，並探討母職的建制化與再生產對劇中角色的作用。進而批判親職展演中性別二分的規範性制約如何導致家庭成員的客體化與親子關係的斷裂。立基於抵殖民方法論關注歷史傷痕、重建邊緣主體的主體能動性，以開拓「解殖酷兒實踐」的路徑。 文中援引女同志連續體（lesbian continuum），揭櫫規範性的制約何以介入並再現臺灣劇場史上女性相關的展演，造就邊緣主體「被再現的勞動」（labor of layered representation）。這體現在國族論述對女性自主意識的挪用，以及冷戰下的民主運動驅動劇場中的性議題，卻未正視邊緣主體之現象。在此脈絡下，台東版演出運用由交織性理論延伸而來的縱橫政治（transversal politics）所賦予的反身性，為被壓迫者劇場提供多層次的劇構方法，重現問題現場。本文亦展望逐漸解殖的定居殖民意識，能促使多重殖民下的邊緣主體皆能在文化安全（cultural safety）的環境中建立主體性。

This study adopts an archival research methodology to reconstruct the dramaturgies of “relational practice” within lesbian theatre, using One Hundred Ways to Go Home by One Player Short Ensemble (三缺一劇團) as its case study. Developed from the Nationwide Marginalized Tongzhi Oral History Working Group’s fieldwork research since 2000, the play features two distinct performance versions: the September 2007 Taipei production and the November 2007 Taitung production. The latter created a radically different spectator-performer relationship by abridging the former and integrating Forum Theatre. Through a reparative reading framed as a counter-memory, the analysis examines colonial modernity and the resistance embodied by women in theatre history, while exploring the impact of institutionalized motherhood and its reproduction on the characters. Consequently, I critique how the gender binary’s normative constraints in performative motherhood lead to the objectification of family members and the rupture of parent-child relationships, concurrently engaging with Decolonizing Methodologies to attend to historical trauma and reclaim the agency of marginalized subjects, thereby forging new pathways for “decolonial queer praxis.” Drawing on the concept of the “lesbian continuum,” this article examines how these normative forces shaped gendered representation throughout Taiwanese theatre history, resulting in a “labor of layered representation” for marginalized subjects. This is epitomized by the appropriation of female autonomy by nationalistic discourses, as well as the Cold War-era democratic movement that, while mobilizing sexual politics within theatre, frequently obscured the lived experiences of marginalized individuals. This analysis observes that the Taitung production utilizes the reflexivity of “transversal politics” to recreate the problem scene, leveraging the multi-layered dramaturgies of Theatre of the Oppressed to restore indigenous agency to the characters. Ultimately, the study envisions an awakening of settler-colonial consciousness that will enable marginalized subjects under multiple colonialisms to reclaim their subjectivity within a framework of “cultural safety.”