从金枝演社的“胡撇仔戏”混搭美学看台湾文化认同

Examination of Cultural Identities in Taiwan through "Mashing-up Taiwan Residents Opera" of Golden Bough Taiwan

自1987年台湾解严以来,随着政治、经济与社会情势的变迁,本土化与主体认同(subjective identity)意识不断高涨,影响所及,许多剧团在创作思维与作品的题材内容方面,也不乏从台湾历史与文化撷取精华与灵感的案例。有些从近一甲子(1949年以来)的两岸情感纠葛取材,有些聚焦日治时期(1895—1945)的小人物生存处境与冲突,少数则描写19世纪末在台外国传教士的爱台情怀,甚至有些则侧重在政权转移之际人们情感认同的依归及抵拒。近百多年来,各种不同的政治与文化势力在台湾这块土地上交汇,有所累积,也有所排拒,有所混融,也有所创新,形成当代台湾文化认同的特有风貌。金枝演社从1993年创团以来,作品持续保有地道的台湾庶民文化味道,从历史、文化、娱乐、生活之中取材,结合"古迹史诗剧场"与"胡撇仔戏"两种主要表现形式,每每带给观众崭新的美感体验。本文将以夹叙夹议的书写风格,杂糅看戏印象、节目单、演出剧本、影像、访谈等数据,试图从金枝演社的胡撇仔戏其混搭美学,来观察台湾多元混杂文化认同的剧场再现,希望能够提供一种看待当代台湾剧场创作与表现美学的视角。

The awareness of localization and subjective identity is increasing with the shifting of political/economical/social situation in Taiwan,since from the lifting of martial law in 1987.Under the circumstances,many theatre troupes create their pieces of work from historical and cultural essence and inspiration of Taiwan.Some inspires from the emotional complex for past sixty years between the two sides of Taiwan Strait.Some focuses the existential dilemma and conflict of ordinary people under the governing of ...