頁籤選單縮合
題 名 | 兩種不同的凝視--李國修與賴聲川的認同書寫=Two Different Gazes--The Recognition Writing of GwoXiou Lee and ShengChuan Lai |
---|---|
作 者 | 蔡佳陵; | 書刊名 | 樹德科技大學學報 |
卷 期 | 14:1 2012.01[民101.01] |
頁 次 | 頁299-318 |
分類號 | 982.6 |
關鍵詞 | 李國修; 賴聲川; 認同書寫; 文化身分; GwoXiou Lee; ShengChuan Lai; Recognition writing; Cultural identity; |
語 文 | 中文(Chinese) |
中文摘要 | 目前台灣討論有關外省族群認同問題時,都鎖定白先勇或朱天心等某一部分作家,也甚少討論到戲劇這個文類,而面對戲劇此一文類,雖說是最能貼近一般大眾的文類,其與社會大眾的互動程度也甚為密切,然而關於認同的討論,卻鮮少針對這一文類去觸碰。因而,筆者想針對戲劇這一文類來探討。賴聲川、李國修在1984年3月與李立群三人共組表演工作坊,以及1986年李國修成立屏風表演班之後,賴聲川、李國修兩人至今創作不斷,由於特殊的時代背景,以及身分問題,因而關於認同建構的議題,在兩位的劇本當中也不斷被探討,作品中亦呈現出許多具有時代意義的面向,且作為外省第二代的劇作家,藉由自身經驗反覆處理自己的認同,描繪其中的轉變,可以說是提供了外省人在建構認同時的不同視角。李國修與賴聲川都體認到在台灣的連續與不連續的構成,但是他們選擇了不同的方式來闡述或解決。李國修選擇了站在內部的位置,以自己實際的經歷,創作劇本,並親自演出劇中腳色,當他在站在最貼近自己的位置凝視自己時,他記錄了些什麼?傳達了些什麼?而賴聲川選擇站在外部,主導著集體即興創作劇本,在演員各自創作與描繪的過程中,他看到了或是推使了怎樣的集體想像的呈現?而在這個集體想像中,他又是在何種位置看待自己? |
英文摘要 | Only certain writers such as XianYong Bai and TienXin Chu are mentioned when the issue of Mainlander ethnic identity is discussed in Taiwan. However, people seldom discuss plays of this genre, either. Although plays are the genre that are close the general public and have intimate interaction with the society. The recognition discussion rarely has plays get involved. Thus, I would like to probe into plays of this genre. ShengChuan Lai and GwoXiou Lee found Performance Workshop with Lichun Lee in March 1984. Two of them write dramatic works constantly after GwoXiou Lee found Ping-Fong Acting Troupe in 1986. Due to the special historical background, and issues of identity, the issues of identity construction are often been discussed in the screenplay of the two masters whose works display the significance of times. As the playwright of second-generation mainlanders, they depict the changes within by their own experience and handle their own identity over and over again that can be said to provide different perspectives for identification of Mainlanders. ShengChuan Lai and GwoXiou Lee all have realized the continuous and discontinuous composition in Taiwan. But they chose different ways to illustrate or resolve. GwoXiou Lee chose to stand in the internal position with his own actual experience. He writes scripts and performs in the plays personally. What has he recorded and transmitted when he is staring at the closest location to himself. ShengChuan Lai stands outside to lead the dominated improvisation of plays. What has he seen and what kind of collective imagination has he conducted? In the collective imagination, Where the position is he looking at himself? |
本系統中英文摘要資訊取自各篇刊載內容。