邁向酷兒大眾劇場：蔡柏璋作品中的通俗手法

Abstract

兩千年後，議題導向的同志戲劇式微，逐漸與主流商業劇場匯流，成為電視、電影、劇場多元題材的一環。本文自酷兒劇場與同志運動密不可分的崛起及式微的政治性，開啟對於酷兒大眾劇場的求索與想像，繼而發現蔡柏璋作品中慣以同志�酷兒政治酷異化主流通俗劇的曖昧與獨特，足以提供酷兒大眾劇場系統化實踐的參酌對照。而本文提出「酷兒大眾劇場」一詞，則試圖以此標誌出酷兒戲劇與大眾劇場的結合，應兼容「酷兒政治的劇場」與主流大眾劇場通俗、擁抱觀眾的特性。而蔡柏璋的劇本與舞台創作中交纏互生的通俗手法和酷異主題，不僅構成其創作品牌對酷兒�大眾能動性的召喚，亦在「撩亂」（chaotic）的通俗手法所製造的情節跌宕中，對體制造成了「撥亂反正」的效果。 本文將以蔡柏璋的《木蘭少女》、《Q&A》首部曲、《Re/turn》三部聚焦於特定主角認同追尋的劇作為主要討論對象，觀察酷兒再現與通俗手法的互相作用，對蔡柏璋的文本進行「酷讀」（queer reading）的分析，系統性的爬梳蔡柏璋劇作中如何在劇作家有意的以酷異主體來對通俗劇進行重新包裝後，在文本的縫隙中產生了對體制顛覆與鬆動的可能。此外，對於失敗酷兒以及酷兒失敗的再現，帶來的質疑與批評，顯示了通俗手法的侷限。寫作風格上對結局處理的曖昧，則維持�勾起了觀眾的能動（agency）。 透過提出通俗與酷異並行的期待。期許本文能作為一個承先啟後的樞紐，為酷兒大眾劇場的發展開啟一個新的可能。

Since the year of 2000, issue-oriented queer theater has lost its popularity and has gradually converged with mainstream commercial theater. This paper intends to explore the needs and fantasies for Queer Popular Theater through looking into the intimate relationship between the uprising of queer theater and LGBT social movements and the decline of politics within, and thus discover the ambiguity and uniqueness of the manifesting strategies of Tsai Pao-Chang: queering popular melodrama with gay/queer politics. This will provide Pop Queer Theater with a reference for systematic development. This paper proposes the word 'Pop Queer Theater' in order to mark the interaction of queer theater and popular theater, which takes features of both queer political theater and popular theater. The artifices and themes of Tsai Po-Chang's script and stage presentation established his renowned brand that teases the queer/public agency, which challenges the social norm through its strategies. This paper focuses on Tsai Pao-Chang's Mulan, Quest and Amnesia Episode I, and Re/turn, all narrate the main characters' exploring of self-identity. Specifically, this paper observes the interaction between queer representation and popular methods and proposes a queer reading on Tsai Po-Chang 's texts, in which the playwright restructures melodrama and produces the possibility of troubling the system. By proposing a critique that juxtaposes popularity and queerness, this paper aims connect the past and the future of queer lives on stage and open up a new possibility for the development of Pop Queer Theater.