後殖民想像與第三世界╱視界---拉美族裔認同及跨文化劇場

Abstract

本研究計畫乃是三年期的計畫，重點在於研究美國的拉美裔劇場，如何藉由跨文化 劇場表演，迎／拒美國白人主流社會對拉美裔的熱帶想像形塑(tropicalization)，凝聚族 裔認同，並在種族、性別、與階級的交界，再現拉美裔主體流離越界的歷史記憶、慾望、 與創傷；在內外異同之間（拉美裔和白人主流社會之間，拉美裔族群內部），和美國國 家機器與資本主義商業機制之間，往復協商，再現拉美主體，爭取公民權，重新形塑第 三世界／視界。本計畫主旨如下：第一年：「文化國族主義，與拉美劇場運動」；第二年： 「第三世界女性主義，文化混雜，與拉美劇場」；第三年：「泛拉美認同，重塑熱帶想像， 與越界表演」。 本研究將從三個方向進行： 一、從拉美裔移民歷史文化情境的演變，以及拉美認同論述的發展，來探討不同時期的 拉美劇場，如何以不同的再現策略與美學，和外在的歷史文化情境與認同論述相互 影響。由於拉美裔社群乃是多元族裔，其文化血緣廣及拉丁美洲與加勒比海諸國， 本研究擬採拉美表演研究學者Diana Taylor 的觀點，與其視拉美集體認同源自同一 歷史的族群，毋寧視其為源自共同抵拒殖民者的歷史（美國是最強亦是最終的殖民 者）(Diana Taylor, 1994:9)。這些背負母國多重殖民歷史經驗的拉美裔移民或非法移 民，輾轉流離於美國都會底層或邊緣，可說是「內在於第一世界的第三世界」。其 矛盾錯綜的處境，挑戰著既有的殖民與後殖民論述，也挑戰著原有的第一世界／第 三世界，殖民者／被殖民者的二元劃分，而透過劇本以及劇場文化生態研究，可探 索其文化特殊性及歷史物質情境，此乃為既有後殖民論述不足之處。 二、從劇場史的角度，探討不同時期的拉美劇場美學及再現策略。拉美劇場的脈絡可說 是百川匯流：其政治基進性可溯源於六零年代中南美洲及美國本土的政治劇場；其 雜化越界的再現策略及美學則植基於「邊境藝術」(border art)(Guillermo Gómez-Peña, 1993: 52)，「雜化越界」(mestiza)(Gloria Anzaldúa,1987: 84-85)，以及「過渡轉化」 (nepantla) (Gloria Anzaldúa, 1993: 39)概念。而其劇場意象則兼容拉丁美洲民俗宗 教、神話、歷史，或是諧擬反諷美國通俗文化對拉美熱帶風情，及原始情調的刻板 形象。此外，拉美裔劇場亦會挪用歐美前衛劇場，布萊希特劇場的技巧，或是採取 1960 年代以降的熱帶主義文化運動(tropicalism)之美學實驗精神，混雜了諧倣人類 學(anthropopagy)、融雜主義(syncretism)、類型揉雜(hybridization of genres)、垃圾藝 術(trash art)，以及影者拼貼(Jeepney audio-visual bricolage)等藝術形式。 三、從跨文化表演的角度，研究拉美戲劇創作及演出所涉及的文化移轉、交換、混雜、 內在外在結構，以及權力關係。並藉由實例的研究反思既有的跨文化表演理論，試 圖由此建構更有效的跨文化表演理論模式。

This 3-year research project is aimed at investigating: first, how Latino/a theater artists and playwrights in the United States develop representation politics and aesthetics to resist against or appropriate the white Anglo-Saxon』s tropical imaginary/imagination to interpellate collective identities and to perform diasporic memories, desire, and trauma at the intersection of race, gender, and nation; (2) how they shuttle and negotiate back and forth Latino/a communities and American Mainstream society, between American Ideological State Apparatuses and mainstream commercial machinery to re/present Latino/a subjectivity and to claim citizenship and minority rights in reshaping the third world/vision. The research objectives: First year: 「Chicano/Latino TheaterMovement and Cultural Nationalism」; Second year: 「The Third World Feminism, Cultural Syncretism and Latina Theater」; Third year: 「Pan-Latino/a Coalition, Re-tropicalization, and Cross-border Performance」. The 3-year research will be conducted from three directions: First, to investigate the mutual influence and interplay between Latino/a theater, Latino/a cultural movement, and Latino/a Identity discourses from the perspectives of Latino/a immigrant history and cultural locations. This research will regard that Latino/a collective identities stems 「less from a history or shared community than from the shared history of opposition to the colonial powers」(of which the United states has become the strongest and the latest colonial power) (Diana Taylor 1994:9). They are 「the supplements of the vanishing third world in the old world system」(Simon Gikandi 2001: 646) which go beyond the existent dichotomy of the first/third world or the colonizer/the colonized. The research and investigation of Latino/a theaters and their cultural production can explicate the cultural specificity and materiality, which might remedy the deficiencies of the existent elite-oriented post-colonial theories. Second, to investigate the aesthetics and representation politics of Latino/a theater and in different periods. Latino/a theaters and performances are characteristic of syncretism and imbued with the spirits and dynamics of border art (Guillermo Gómez-Peña 1993: 52), mestiza (hybridization and border-crossing) (Gloria Anzaldua 1987: 84-85), and Nepantla, ( in-between-ness) (Gloria Anzaldua 1993:39). Their aesthetics and politics combine those of the political theaters in Latin America and the United States in the1960s; they appropriate the mythical, historical and religious icons of Latin America or produce post-modern parody of American mainstream society』s stereotypes of them. Moreover, Brechtian theater techniques, , anthropopagy, syncretism, Jeepney audio-visual bricolage are also employed by them. Third, to employ methodologies of 「Transculturation,」(Diana Taylor 1994) and 「intercultural performance」(Richard Schechner 1985; 1988; 2002) to investigate the cultural contact between two or more cultures as well as the 「barter」, exchange, culture of choice, bicroleurs, internal and external structure during the process..