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標題: | 臺灣移工戲劇(2007-2020) Taiwan Migrant Worker Theatre(2007-2020) |
作者: | Hsi-Chun Wang 王熙淳 |
指導教授: | 鄭芳婷(Fan-Ting Cheng) |
關鍵字: | 移工戲劇,臺灣移工制度,東南亞移工,再現他者,溝通策略,社會正義,被壓迫者, Taiwan migrant worker theatre,Southeast Asia foreign labor,Migrant worker policy of Taiwan,Representation of the Other,Strategies of communication,Social justice,The oppressed, |
出版年 : | 2020 |
學位: | 碩士 |
摘要: | 2019年移工人數已達七十萬人,約占臺灣四十分之一的人口數,這群隱形於日常的勞動族群,支撐起臺灣的經濟產業以及家庭照護,卻在社會中遭到邊緣化的壓迫。有鑑於此,民間陸續設立移工相關組織發起平權運動,亦有社會工作者從文化層面著手,建立移工能夠自主發聲的平台,嘗試以藝術的管道泯滅現實中族群的隔閡。於2017年,移工戲劇的能見度逐漸增加,出現大型售票類型的節目,此類作品傾向強調移工對臺灣的付出和性格中的正面特質。我認同創作者欲以此顛覆主流論述中移工的刻板印象,但亦疑惑這樣的腳色形塑會否限縮移工於現實中的生存處境,因此以研究者和演員的身分,展開爬梳臺灣移工戲劇脈絡的行動。
為奠定與移工戲劇對話的基礎,我自東南亞移工的現實處境出發,回顧在全球政經的交互作用下勞力流動的歷史成因,爬梳臺灣自1992年正式開放移工後,該族群遭受的結構性壓迫,包含排除性的政策制訂、仲介的剝削行為,以及社會共同形構的汙名化論述。接續我整理臺灣移工戲劇的簡史,將製作目的分為創作者自行發起、相關組織招募非職業演員,兼具對外展演和對內培力的目的,以及政府委託進行製作等三類,分別概述其不同風貌。而後,我將移工戲劇定義為具有社會性的溝通行動,把文本與製作分開討論。先以「溝通策略」為出發點,將移工戲劇的切入點分為:化用熟悉故事、家庭情感、勞動等三種面向,詳細分析戲劇作品如何藉由臺灣觀眾的熟悉語彙,描繪相對陌生的移工故事。在這些策略之中,我聚焦於作品是否因戲劇目的而將現實移工處境去脈絡化,使移工腳色成為被動的、亦或是單一面向的存在。作品論述焦點為何與其主張的「弱勢發聲」初衷產生偏移,為此篇論文的觀察重點,希望能作為對移工戲劇的提醒之處。在戲劇製作的部份,我分別就移工參與演出所遭遇的限制,以及臺籍創作者如何在製作中實踐尊重他者的倫理展開討論,並藉由跨族群製作的史例探討難以迴避的再現暴力議題。最後,總結移工戲劇實踐了劇場反映社會,與社會對話的意義,並拓展了劇場的可能性,肯定移工戲劇為臺灣劇場進程不可或缺的一部分。 The number of legal and illegal migrant workers in Taiwan has reached 700,000, one-fortieth of Taiwan’s entire population, as recorded in 2019. The increasing number denotes that the manufacturing and social welfare industries of Taiwan have long relied on them. Nevertheless, the migrant workers have been suffered from various forms of oppression and marginalization launched by the general public.Witnessing numerous migrant workers becoming victims of precarious work environments, non-governmental organizations, such as TIWA and One Forty, have launched social movements to appeal equality and fair treatment. Among these organizations, the Taiwan Literature Award for Migrants try to diminish the prejudice from cultural perspective, setting up literature award to encourage literary productions of migrant worker.As more and more theater productions focused on migrant worker appeared in Taiwan in the recent 5 years, an interesting yet arguable phenomenon has emerged: the migrant worker characters that represented on stage mostly share similar positive personalities—kindhearted, diligent, and optimistic.While the attempt of Taiwanese theater practitioners of subverting the prejudice in mass media is understandable, the propagation of certain characterizations might risk further worsening the situation of migrant worker in Taiwan. Bearing this in mind, I observed and participated in the Taiwan Migrant Worker Theatre both as a researcher and a performer. To build effective conversations between issues of Migrant Worker Theatre and the social background of the migrant worker in Taiwan, I articulated the histories of economic development in Southeast Asia countries, the process of legislation for foreign labor in Taiwan, the design of private broker system, and the stigmatization in mass media. I then tried to propose a possible way of viewing the history of the Migrant Worker Theatre in Taiwan. In the second chapter, I divided these works, including The Silent Left Hand(2007), Nostalgia(2009), Factory(2013), Finding Lucia(2017), Cry of the Poor(2017), Super Mommy(2017), Homecoming(2017), Qibla(2017), The Regret of Planet Miaoxui(2019), Guardians of the Earth(2019), Aladdin and the Four Fantasy Kingdoms(2019), and Floating(2020) into three categories according to their purposes of production, including autonomous production from troupe or individual artist, production launched by migrant worker related organizations, and the production outsourced by government. Through close reading of the text and the production of the plays, I define Migrant Worker Theatre as an activist gesture of communication. I have discovered that the common communication strategies used by the theater productions include: rewriting classic allusion, focusing on family relation, and emphasizing labor aspect. I analyzed how these works utilize these common strategies to build up connection between migrant worker characters and audience. Furthermore, I stressed on how the productions decontextualized migrant worker from the social backgrounds and thus transforming them into passive or unilateral characters. I argue that these theatrical strategies have deviated from their original purpose of empowering the minority. In the chapter regarding the production part of Migrant Worker Theatre, beginning with a discussion on the limitation for migrant worker in participating theatrical activities in Taiwan, I outlined how Taiwanese theater practitioners achieve their goals of enhancing the interaction between different racial communities. Beside, by employing the examples of cross-cultural theatre, I point out that the representation of minority group characters might lead to cultural hegemony and further exploit migrant workers. In conclusion, I underlined that the Taiwan Migrant Worker Theatre is an inseparable and significant part of the Taiwanese theatre as it demonstrates how theatre reflects and interacts with society and broadens the possibility and content of Taiwanese theatre. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/63672 |
DOI: | 10.6342/NTU202000727 |
全文授權: | 有償授權 |
顯示於系所單位: | 戲劇學系 |
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