从赛博格到后人类表演:戏剧的“后人学”转向

From Cyborg to Posthuman Performance:The‘Posthumanologist’Turn in Theatre

作为一种“控制论有机体”,赛博格的混杂形象打破了本质主义的人与非人之间的界限,使“何为人类”这一长期由人文主义统摄的问题遭遇挑战。受控制论的影响,赛博格运用拼装技术重构了人的主体性,使之成为生成的主体性,当赛博格的践行者即艺术家主观介入并影响到这种生成时,便是赛博格表演。本文通过梳理赛博格表演产生的思想背景,区别于将赛博格当作异化人类或超人类的流行解读,指出在批判性的后人文主义视角下的后人类定义—“游牧”的主体。不同于国内由“人学”定性的戏剧传统以人类为中心的平等主义,后人类主体在反对二元论的基础上提出了新的以普遍生命力为中心的平等主义,构成对“人学”的反思及深化,进而设想一种戏剧的“后人学”转向,也是戏剧领域的“后人类转向”的理论可能。

As a “cybernetic organism”, the hybrid image of the cyborg has broken the boundary between the essentialist human and the non-human and challenged the knowledge of “what is human” that has long been dominated by humanism. Influenced by cybernetics, the cyborg has used the technology of assembly to reconstruct human subjectivity to a generated one. A cyborg performance becomes present in cyborg practitioners’(i.e. artists’) subjective intervention in and influence on this generating process. By sorting out the ideological background of cyborg performance and distinguishing from the popular interpretation of cyborg as alienated human or transhuman, this paper clarifies the definition of posthuman, from the perspective of critical posthumanism, as a “nomadic” subject. Different from the human-centered egalitarianism in the domestic theatre tradition characterized by “humanology”, the post-human subject has proposed a new egalitarianism centered on universal vitality based on opposing dualism. It constitutes a reflection and deepening of “humanology”, and then imagines a kind of “post-humanologist” turn of theatre, which is also the theoretical possibility of “posthuman turn” in the field of theatre.