《漁港夢百年》的香港殖民史敘事

Abstract

自80年代開始，香港戲劇舞臺上不乏探討香港身分的本土劇作，但完整地以一百五十多年英國殖民時期的歷史為依據，為香港殖民史作一連貫敘事的劇作則甚少。而且，香港舞臺上雖然充滿了對身分焦慮的感覺和思考，但對香港殖民經驗的敘述，大都沒有脫離以中國為中心的視角。本文探討的劇作家黃國鉅，在他的近作《漁港夢百年》第一部曲〈初入夢鄉〉中則打破了這個傳統。他以盧亭這個本土神話人物，突破了關於香港大歷史敘事中習見的殖民主義史觀，也同時顛覆了處理香港殖民經驗時一貫慣用的中國國族主義角度。本文嘗試從後殖民研究的角度對《漁》劇進行解讀，指出《漁》劇如何開展了一種重新解讀香港殖民歷史的可能性。本文的分析亦會開展《漁》劇與莎劇《暴風雨》的對讀，並探討後人類主義對後殖民評論以及對香港本土主義的重要性。

Since the bloom of local productions in Hong Kong theatre starting from the eighties, there are plenty of theatrical works dwelling on the identity issues of Hong Kong. However, seldom has any play attempted to give Hong Kong colonial past a coherent historical narrative. Moreover, even though feelings and thinking about the anxieties of one's belonging are often displayed vividly on the stage, few would go beyond the Chinese nationalistic frame to interpret historical events happened in the colony. However, local playwright Wong Kwok Kui has achieved a breakthrough in his recent work Century-old dreams of a fishing harbor (first installment) from this tradition. Making use of the mythic figure Luting, the play reconstructs a historical narrative of the city from neither a colonialist nor a Chinese nationalist viewpoint. This essay tries to offer, from a post-colonialist perspective, a reading of the play to unravel the intricacies embedded and to see how it makes a reassessment of Hong Kong colonial past possible. It will also attempt an inter-textual reading between Wong's play with Shakespeare's The Tempest. From this vantage point, the essay will argue for the important contributions of post-humanism to post-colonial criticisms, in general, as well as Hong Kong emerging localism, in particular.