搬演八九民運：台灣劇場中的文化記憶實踐

Abstract

八九民運是 1989 年上半中國以北京為中心所發生的政治運動,當時學生們向中共政府提出改革訴求,卻遭軍隊鎮壓告終。此事隨後變作中國內部的禁忌,卻在台灣劇場中多次成為創作題材。本論文整理 1989 年以降台灣劇場中關於八九民運之演出,並將此運動視為法國史家皮耶.諾哈(Prerre Nora)所說的「記憶所繫之處」,指其被象徵化、並賦予多重詮釋可能性的現象。經整理發現此類演出在台灣於 1989 年、二十世紀末與 2010-2020 年代等三個時間點較常出現,往往激起劇場界對八九民運的討論。本論文依序各取一對案例以作為對照並分析,分別為劉靜敏《重審魏京生》(1989)與田啟元《亡芭彈予魏京生》(1989)、賴聲川《我和我和他和他》(1998)與《如夢之夢》(2000)、王墨林《荒原:致台灣八○》(2010)與《安蒂岡妮》(2013)等六部作品。本論文藉由文化記憶理論,審視它們以怎樣的方法與態度記憶八九民運,從而檢視在這些作品彼此異質的觀點背後的對話。這些對話有助於理解中國大陸民主運動在台灣的意涵,與台灣的自我定位,這除了反映國族身分的流動網絡,也關乎意識形態評價的重構。最終,希冀藉此能揭開一條過去台灣劇場中不被注意的記憶的歷史,從而推展台灣集體記憶研究的範疇。

The 1989 Chinese Democracy Movement refers to the pro-democracy protests that occurred in the first half of 1989, centered in Beijing, in which students demanded political reform from the Chinese Communist Party. The movement ultimately ended in military suppression. While the event became a political taboo within mainland China, it has repeatedly served as a subject of theatrical exploration in Taiwan. This thesis surveys theatrical productions in Taiwan since 1989 that engage with the movement, framing the event as a lieu de mémoire—a “site of memory” in Pierre Nora’s sense—imbued with symbolic significance and open to multiple interpretations. These performances tend to cluster around three historical moments: the year 1989 itself, the end of the twentieth century, and the 2010s-2020s. These works have often reignited public discussions on the movement. This thesis analyzes three pairs of productions as comparative case studies: Ching-min Liu’s Retrying Wei Chin-Sheng (1989) and Chi-yuan Tian’s Wang-pa-tan for Wei Chin-Sheng (1989); Stan Lai’s I Me He Him (1998) and A Dream Like a Dream (2000); and Mo-lin Wang’s The Waste Land (2010) and Antigone (2013). Drawing on the framework of cultural memory theory, this study examines the diverse strategies and attitudes through which these works remember the 1989 Chinese Democracy Movement. It also explores the dialogic relationships among these heterogeneous representations. These dialogues shed light on the cultural and political significance of the 1989 Chinese Democracy Movement in the Taiwanese context, as well as on Taiwan’s evolving self-positioning. They reflect shifting networks of national identity and the ongoing reconstruction of ideological value systems. Ultimately, this thesis seeks to uncover a previously overlooked history of memory in Taiwanese theatre, thereby contributing to the broader field of collective memory studies in Taiwan.