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

本論文旨在突破當今「轉型正義」的狹隘界定，將其延展至更廣泛的時空脈絡。本研究將擴及國民黨政府接管台灣前的歷史進程，並深思日本帝國主義侵略在各族群歷史記憶中的交織。同時，本研究亦將思索劇場何以懷抱「脫冷戰化、去殖民化與反帝國宰制」的視野，探討當代劇場的左翼敘事如何處理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遺緒與新自由主義文化治理的影響，白色恐怖與左翼革命運動的歷史記憶在當代表演藝術舞台中，常遭到「符號化」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所體現的三大關鍵特徵，將是本論文探討的重點： 首先，將轉型正義題材作為劇場場域內的批判行動，藉以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，進而擾動官方既定史觀，推動社會與政治的變革。 其次，承襲「第三世界」的民眾視域，1980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1950年代政治英靈的證言，並汲取日據時期至光復初期（1945-1949）的左翼思想脈絡，旨在重建長時間受壓抑的革命記憶。 最後，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，並分析其何以透過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 aims to transcend the narrow definition of "transitional justice" by extending 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 delves into the entanglement of historical memories among different ethnic groups under Japanese imperial rule. Simultaneously, this study examines how theater embraces a vision of "de-Cold War, decolonization, and anti-imperial domination," and investigates how contemporary theater's leftist narratives address 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 historical memories of the White Terror and leftist revolutionary movements have often been symbolized on many performing arts stages, sometimes even reduced to consumable cultural commodities. In this context, leftist narratives in contemporary theater exhibit three key characteristics that merit further exploration: First, this thesis explores how themes of transitional justice are employed as a form of critical action within the theatrical sphere, intervening in real-world politics and cultural formation. By bringing marginalized historical memories back into the public sphere, these narratives disrupt official historical discourse and promote social and political transformation. Second, this thesis inherits the perspective of the "Third World," examining how, in the 1980s, Ren Jian (Human World) magazine and its affiliated theater group practiced a people's theater aesthetic rooted in realism. This practice thereby invoked the testimonies of political martyrs from the 1950s and drew from the leftist ideological lineage spanning the Japanese colonial period to the early post-war years (1945-1949). This process serves to reconstruct long-suppressed revolutionary memories. Finally, this thesis 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, thereby expanding the possibilities for social reconciliation in transitional justice.