千禧回顧：百老匯音樂劇族裔再現的記憶策略、文化間際與迷文化

Abstract

計晝主題：千禧回顧：百老滙音樂劇族裔再現的記憶策略、文化間際與迷文化

第一年計劃：家非家：非美族裔再現的女性時間、詭異家庭與自我實現一《紫色姐妹花》及

其文化現象個案研究

第二年計劃：何處為家：拉美族裔再現的城市空間、文化間際與好女孩情結一《華盛頓高地》 及其文化現象個案研究

在邁入千禧之後的二十一世紀，由於美國政治社會氛圍的改變，少數族裔人口的增加，族 裔議題再度受到重視，以及後9/11紐約市民日增的社區意識和百老滙劇場生態的改變，使得 百老滙以族裔再現為題材的音樂劇受到前所未有的重視。非美裔再現的《紫色姐妹花》(The Color Purple) (2005)與拉美裔再現的《華盛頓高地》(In the Heights) (2008)造就了成 功的票房，赢得多項東尼獎提名獲獎，大幅提高非美裔和拉美裔觀眾人次，也形成族裔社群 的迷文化。

筆者將從劇場史和文化研究的角度，分別把兩齣音樂劇置於拉美音樂劇及非美音樂劇的 社會文化脈絡，探討其如何運用族裔文化元素和音樂劇雜化的美學形式，以及文化記憶實踐， 交織多重時空，穿梭於個人與族群、現實與幻想之間，追溯「何處為家」、「我是誰」的困惑， 追求自我成長與實現。另一個值得探討的問題，則是兩齣音樂劇所引起的文化現象以及迷文 化效應，均和商業機制的運作有關。而這商業機制的運作和第三波女性主義的訴求，以及強 調族裔文化驕傲的迷社群（fandom)的認同，又是怎樣一種弔詭矛盾卻又相輔相成的關係？ 這兩齣音樂劇在創作演出的美學形式和素材取捨上，又如何在主流白人中產階級觀眾和少數 族裔觀眾的品味和關懷訴求之間取得平衡？商業娛樂考量和少數族裔培力運動（empowerment movement)及社區意識的覺醒，這兩種看似互相矛盾的訴求，是否可能在音樂劇這種雜化美 學的戲劇類型以及商業機制的文化行銷策略得以並行不悖，共同實現嗎？這兩齣族裔再現音 樂劇叫好又叫座及其文化現象，究竟是因緣際會的曇花一現，或是可為族裔音樂劇或一般音 樂劇製作行銷據以複製的成功模式？

本計晝研究方向如下：

1.將從劇場史和文化研究的角度，把《紫色姐妹花》與《華盛頓高地》兩個案分別放於拉美 裔音樂劇和非美裔音樂劇的劇場史及社會文化脈絡來探討，並選取具有里程碑意義或有互 文性之相關劇作，進行戲劇美學和社會文化意義的比較分析。此外，也藉由討論兩個案來 探究非美裔和拉美裔音樂劇的美學衍生、流變，以及族裔再現策略的轉變。

2.從第三波女性主義以及女性主義劇場的觀點，分析兩齣劇中族裔女性角色和族裔社群、父 權體制之間的愛恨矛盾；女性角色藉由女性情誼的支持而自我成長歷程；以及兩齣音樂劇 對父權再現框架的女性刻板角色之嘲弄、質疑和翻轉。

3.由侯米•巴巴（Homi BhaBha)「家」、「非家」以及「文化間際」之概念，分析族裔女性在 家庭私密空間和社區公共空間、在母國和移民所在地之間、以及自我與社群之間的往復遊 移、間際雜化狀態及文化羨嫉，並討論這兩齣音樂劇如何用多重文本，連結族裔歷史和個 人心理歷史。

4.本研究將戴安娜•泰勒（Diana Taylor)的「文化記憶實踐」論述以及葛蘿亞•安贊杜娃 的（Gloria Anzaldua)「雜化越界」及「過渡轉化」再現策略，探討這兩齣音樂劇如何透 過女性觀點的再現框架和記憶策略，以及音樂劇雜化形式的多重文本，來連結歷史時間和 個人私密心理空間，召喚並形塑角色和觀眾的集體記憶。本研究亦將比較《華盛頓高地》 和《紫色姐妹花》分別採取「社區空間」和「女性時間」之不同文化記憶實踐策略，所造 就之戲劇美學與文化效應。

5.本研究將探討兩齣音樂劇的行銷團隊，如何針對不同族裔社群，透過媒體運作、網路社群、 社區動員以及名人效應，來塑造催化迷文化（fan culture)以擴大戲劇以外的社會文化 效應。

Millennium Retrospect: The Memory Strategies, Cultural Interstices, and Fan Culture of Ethnic

Representation in Broadway Musicals

First-year Project; Being Unhomely at Home: The Feminine Temporality, Uncanny Family and Self-Growth of African American Representation: in the Case of The Color Purple and its Cultural Phenomena

Second-year Project: In Search of Home: The Barrio, Cultural interstices, and “Good Girl” Complex of Latino/a Representation: in the Case of In the Heights and its Cultural Phenomena

Turning to the 21st century, Broadway musicals themed on ethnic representation have drawn unprecedented attention due to the socio-political changes in the United States, the increasing minority populations, the rising community consciousness in post-9/11 New York, and the renovation of Broadway theater district. African American Musical The Color Purple (2005) and Latino Musical In the Heights (2008) have become blockbusters, won Tony nominees and awards, significantly increased African American and Latino audience, and formed fan culture in ethnic communities.

Through the approaches of performance studies and cultural studies, this project will position the two musicals in the genealogy of African American performance and Latino performance to investigate how the musicals hybridize elements of ethnic performance and popular culture and enact cultural memory practices to fabricate multi-faceted temporality and space to explore the meanings of “home” and identity back and forth the self and communities, and reality and fantasy. Moreover, insofar as the fan culture and the phenomena created by these two musicals cannot do away with commercialism, what is the relationship between commercialism and the third wave feminism and the cultural pride emphasized by ethnic communities? In terms of aesthetics and performance style, how do these two musicals simultaneously appeal to the taste of Caucasian middle class audience and the concern of minority audience”？ While commercialism and entertainment seem contradictory with consciousness awakening and empowerment of minority communities, can these two different ends be reached at once with the hybrid form of musical and the marketing strategies of commercial institutes? Are the commercial success and cultural phenomena of the two musicals coincidental and ephemeral or can they work as paradigms to be imitated and duplicated?

This research project will be conducted from the following directions:

1. The investigator will contextualize The Color Purple in African American musical history and In the Heights in the Latino musical history and also compare them with some landmark musicals themed on ethnic representation to study the source and evolvement of aesthetics and the cultural turn of ethnic representation.

2. From the perspectives of the third wave feminism and feminist theater, the investigator will analyze the female protagonists，relationship and ambivalence with the patriarchy and the feminist strategies of irony and playful mockery of the gender stereotypes of the patriarchal representational apparatuses.

3. The investigator will employ Homi Bhabha，s theories of “homely,” “unhomely,” and “interstitial intimacy” narrative to analyze the alienation, displacement, and violence caused by social-political institutions， intervention with and invasion into the domestic space of “home，and family; to analyze the African American and Latina women’s oscillation and negotiation between the domestic space and the public space, the homeland of mother country and the immigrant country, and the self and communities through a parallel of individual psychic history and ethnic social history.

4. The investigator will employ Diana Taylor，s “cultural memory practice” and Gloria Anzaldua，s “mestiza,” and “nepantla” to investigate how the two musicals respectively utilize “Barrio” (community) and feminine temporality to represent ethnic women’s alienation, displacement and self-growth as well as to connect individual private space and historicity via multiple texts of dancing, singing, music, dialogues, mise-en-scence, and stage design.

5. The investigator will study how the marketing groups of the two musicals boost ticket sales and create fan culture through advertisement, internet networking, community mobilization, and celebrity，s influence.