城市空間的地域性與劇場方法之類比：柳春春劇社及玉泉特訓作為案例

Abstract

本研究以成立於1990年代的台灣劇團「柳春春劇社」及其以城郊公園為演員身體訓練場域的「玉泉特訓」為案例，嘗試探究城市日常生活實踐與劇場實踐兩者在空間態度上，對普同化、底層化（subalternisation）與陌生化（defamiliarisation）等殖民現代化的地域性（locality）操作的回應策略，及支配情境下的「非典型」地域性主體如柳春春劇社，在當代台灣城市空間的後殖民情狀中如何透過各種實踐策略產生「反論述」（counter-discourse）。這樣的後殖民論述使被底層化或失語化的地域性主體在過程中再次浮現。台灣在空間上開端於日本殖民時期與國民黨專政戒嚴時期的「城市化」與「現代化」進程，一方面對被統治氛圍下的城市日常生活空間進行了「進步的」、「現代性」想像的實質轉譯，另一方面卻以效率化統治與管理的支配性論述壓迫有其特殊地域認同與生命經歷的地域性主體，這樣的殖民現代性被再現為一種普同化的地域性。本研究主張，在殖民與威權統治脈絡下所勾勒的支配性論述、空間想像及轉譯實踐下，被底層化與他者化的地域性主體難以避免地被迫對殖民地化的地域性空間產生一種即席性（extemporaneousness）的平衡論述策略，使得殖民地化的地域性不僅成為探討台灣當代城市空間時的重要議題，也成為劇場領域必須面對的一種「演員身體問題」：一種即席於支配性論述下的空間秩序而在其日常生活實踐中失語化的身體狀態。作為研究方法，本研究中經驗性案例分析的理論架構，將以地域性、殖民現代性及底層化為論述的展開視角，並透過對經驗案例的考察指出玉泉特訓作為柳春春劇社所操作的劇場方法所詮釋的，是一種台灣當代城市空間中內蘊動態性權力知識/支配關係的後殖民情狀，一種將底層化的地域性重新視為空間與演員實踐主體中心的策略。

This research focuses on the corresponding spatial strategies of everyday life practiced in urban spaces by the OZ Theatre Company. This theatrical practice observed in the Yuqun park showcases a reflection to Taiwan’s colonial modernity by a sense of locality against the consequential universalisation, subalternisation, and defamiliarisation. Particularly, this is the atypicality of the OZ Theatre Company that manages to produce a ‘counter-discourse’ through various practical strategies. These strategies suggest the postcolonial condition of contemporary Taiwaneseness that is phenomenal from contemporary Taiwan’s urban spatiality. Such form of discourse re-subjecfies the regional subjectivity that has been for a long time subalternised and ‘aphasic’. Taiwan’s ‘urbanisation’ and ‘mordernisation’, spatially, was triggered during the colonial rule of the Japanese Empire and the Chinese Nationalist Party’s autocratic Martial Law domination. Through these ruling forces, the urbanism in Taiwan has inscribed the imagery of being ‘progressive’ and ‘modern’ on the one hand, and the efficiency of the governance along with the according discourse of its dominant power and knowledge represses and marginalises the existing regional subjectivity that is particularly ‘Taiwanese’ – a sense that recognises the locality and human experience of Taiwan. This sense of ideology, instead, can be regarded as a form of colonial modernity that represents a ‘universalized locality’. It is my argument that, through the discourse of domination, its consequential impact on an imaginative geography along with its translative realisation in the built environment in Taiwan, which historically has soaked in a context of colonialism and dictatorship, the once regional subjectivity which has been made to be a subaltern and the Other inevitably is forced to display a strategy. This strategy is seen spatially as a counter-discourse through the practice of extemporaneousness. Such strategy, most importantly, not only underscores the colony character of the Taiwanese urban locality but also implies the problematics of play for actors in the theatrical field. The extemporaneousness argued by this research hence reflects the physical condition, both spatially and theatrically, that becomes ‘aphasic’ through the quotidian practice dominated by the discursive order of the general environment. Methodologically, the empiricity of this research is theorised by perspectives from locality, colonial modernity and subalternisation. The contribution provided by the analysis of the OZ Theatre Company and its practice in the Yuquan park, particularly, is suggestive of Taiwan postcoloniality which stands for the inner and dynamic power/knowledge manipulation of Taiwanese urbanity. This is the central argument of this research that strategically reidentifies the subalternised regional subjects – the spaces and actors – as a collection to form a new signifier of the Taiwanese locality.