在轉型正義的漩渦中：台灣當代劇場左翼敘事策略的變遷

Abstract

本論文試圖突破傳統「轉型正義」的狹隘界定，進一步延展至更廣泛的時空脈絡，將焦點擴展至國民黨政府接管台灣前的歷史進程，更涉及日本帝國侵略在各族群歷史記憶的交織。同時，思索劇場何以懷抱「脫冷戰化、去殖民化及反帝國宰制」的視野，探討當代劇場的左翼敘事涉及殖民與冷戰時期的歷史債務。

由於台灣長期受冷戰分斷體制的遺緒與新自由主義文化治理影響，可見白色恐怖與左翼革命運動的歷史記憶在許多的表演藝術舞台中逐漸遭到符號化的使用，甚至淪為可供消費的文化商品。在此脈絡下，當代劇場中左翼敘事體現三大關鍵特徵，值得本論文進行探析：首先，將轉型正義題材作為在劇場裡的批判行動，介入現實政治與文化形構，使被邊緣化的歷史記憶重返公共領域，進一步擾動官方既定史觀，推動社會與政治的變革。其次，承襲「前殖民地第三世界」的民眾視域，八〇年代《人間》雜誌及其劇團以現實主義美學作為民眾劇場實踐，召喚五〇年代政治英靈的證言，並汲取日據時代至光復初期的左翼思想脈絡，進一步重建長時間造到壓抑的革命記憶。最後，本論文著眼於探索「後布萊希特式劇場」對轉型正義美學工程的意義，藉以參與式劇場與教育劇場強調社會批判與公共討論，挑戰觀眾的路徑依賴，引導批判性思考，重新審視歷史詮釋的權力運作，從而建立另類的對話場域，為轉型正義的社會和解開拓更多可能性。

This thesis attempts to break through the narrow definition of "transitional justice" and extend it to a broader temporal and spatial context. It expands the focus to include the historical processes preceding the Kuomintang government's takeover of Taiwan and explores the entanglement of historical memories among different ethnic groups under Japanese imperial invasion. At the same time, it examines how theater embraces a vision of "de-Cold War, decolonization, and anti-imperial domination" and investigates how contemporary theater's leftist narratives engage with the historical debts of the colonial and Cold War periods.

Due to the lingering effects of the Cold War's divided system and the influence of neoliberal cultural governance in Taiwan, the memories of the White Terror and leftist revolutionary movements have gradually been symbolized in many performing arts stages, sometimes even reduced to consumable cultural commodities. In this context, left-wing narrative in contemporary theater exhibit three key characteristics that merit further exploration. First, they employ themes of transitional justice as a form of critical action within the theater, intervening in real-world politics and cultural formation. By bringing marginalized historical memories back into the public sphere, these narratives disrupt the official historical discourse and promote social and political transformation. Second, they inherit the perspective of the "post-colonial in the Third World." In the 1980s, "Human" magazine and its affiliated theater group practiced a people’s theater aesthetic rooted in realism, invoking the testimonies of political martyrs from the 1950s and drawing from the leftist ideological lineage spanning the Japanese colonial period to the early post-war years. This process serves to reconstruct long-suppressed revolutionary memories. Finally, this paper explores the significance of "post-Brechtian theatre" in the aesthetic project of transitional justice. Through participatory and educational theater, these works emphasize social critique and public discussion, challenging audiences’ habitual perspectives and fostering critical thinking. By re-examining the power dynamics behind historical interpretation, they create alternative spaces for dialogue, expanding the possibilities for social reconciliation in transitional justice.