後殖民情境下的坎普美學與懷舊政治：分析黃香蓮獨角戲《羅密歐與茱麗葉》及金枝演社《羅密歐與茱麗葉》

Abstract

本文以「坎普美學／懷舊政治／後殖民情境」為理論分析架構，探究黃香蓮創新獨角戲《羅密歐與茱麗葉》及金枝演社《羅密歐與茱麗葉》「巧扮」莎士比亞的「巧絆意外」。競演氛圍濃厚的演出場域，激化了這兩個作品對於傳統／創新、本土／全球、懷舊／流行的創作思索與具體顯現，於作品中展現強烈創作動態能量，卻也洩漏自身定位的躊躇與內在認同的矛盾。黃香蓮獨角戲以時裝歌仔戲之姿「巧扮」莎士比亞；金枝演社則召喚了於臺灣土生土長、富含日治時期殖民遺緒、表演風格深具混血體質的胡撇仔，以胡撇仔為美學形式或創作精神依歸搬演莎士比亞，於視覺風格及美學意念上，呈現獨樹一格的舞台印象。在這兩部作品「巧扮」莎士比亞的過程中，卻也紛紛顯現「巧絆」莎士比亞的演出「意外」：演員的情感展現模式與表演風格，意外發散出濃厚的坎普氣味之餘，一股懷舊的「執念」也隱隱發作，渴望「現身」。這股溢出於語言之外的表演特色及情感投射，疊映著創作者對於自身定位及內在認同的意識。本文以黃香蓮創新獨角戲《羅密歐與茱麗葉》及金枝演社《羅密歐與茱麗葉》為研究對象，企圖探究溢出於文本語言之外的表演特質與情感認同，試圖爬梳出兩者與莎士比亞相遇時所造就的板塊運動，其拉鋸之間所帶出的動量方向、流動路徑與創作者的主體能動性，探究其美學風格與情感認同反映何種台灣當下的文化歷史情境與認同政治。

This research attempts to offer the intersection of camp, nostalgia and the postcolonial as a conceptual framework for the analysis of the camp aesthetics and nostalgia in Huang Xianglian’s Solo Romeo and Juliet and The Golden Bough Theatre’s Romeo and Juliet. Both productions stumbled upon Shakespeare in art festivals and took place in competitive ambience. Huang’s Solo was part of the mini drama festival entitled “Solo, Experimenting Traditional Chinese Operas” while The Golden Bough Theatre’s Romeo and Juliet premiered in the drama festival “Shakespeare in Taipei.” While Huang resorted to modernized Taiwanese Opera for artistic form, The Golden Bough Theatre turned to the once debased cultural abject, Taiwanese Opeila, for creative inspiration, invoking its aesthetics as possible artistic forms. As Huang’s Solo and The Golden Bough Theatre’s Romeo and Juliet stumbled upon Shakespeare, disparate nostalgic sentiments and a shared campiness arose. This research pays particular attention to the acting style and artistic intentions in these productions, striving to analyze the complex interplay of camp and nostalgia in their invocation of modernized Taiwanese Opera or Taiwanese Opeila aesthetics in postcolonial Taiwan.