六燃國際互動劇場《無／非紀念碑》的另類歷史書寫

Abstract

臺灣以日本殖民國的身分參與世界二戰，終戰至今，在臺灣本島仍未建置二戰紀念碑，而以臺灣為主體的二戰論述也還在進行中。因此在討論臺灣二戰工業建築遺構「日本海軍第六燃料廠新竹支廠」（簡稱新竹六燃）如何「再造歷史現場」的命題時，就需要追問新竹六燃再造的是哪些人的歷史、哪些人的現場？唯有如此，文化部啟動的「再造歷史現場」計劃才能發揮落地紮根的實質意義。六燃國際互動劇場《無／非紀念碑》（Nonuments）的製作就是在這樣的提問下展開的。本文的討論聚焦在參與式互動式劇場的理論假設、實踐與省思。以此劇為研究文本，本文探討觀眾使用物聯網（IoTtalk）投票系統，集體參與劇中製作二戰紀念碑的行動，是否也是開啟另類歷史書寫的行動？本文從語意空缺、質疑性紀念碑、歷史記憶與遺忘、情節與問題設計、即時資料運算雲、他者式換位思考，與主體際性對話等七個面向，討論此劇的演出如何成為一種另類的歷史書寫行動，以及《無／非紀念碑》如何以劇場為媒介，以製作紀念碑為作品內容，將歷史場域與展演空間融合成過渡空間，讓觀眾得以進入其內，參與劇場演出，對臺灣二戰歷史觀點及其背後文化治理的政治提出質疑性反思。

Taiwan was enmeshed in the Second World War as a Japanese colony. However, no monument of the war has been erected in Taiwan, and Taiwan-centered discourses about the war remain under construction since the end of the war. Therefore, when advancing the proposition to ＂regenerate the historic site＂ of the Imperial Japanese Navy's Sixth Fuel Factory, Hsinchu Branch, we should carefully tackle the questions regarding whose history and site it actually is within the historical context of the factory. Only by doing so can we attach substantial, root-taking significance to the Ministry of Culture's Regeneration of Historic Sites Project. Nonuments, the Sixth Fuel Factory interactive theater, was staged on the basis of these questions. The discourses of this paper center on the theoretical propositions, praxis and rethinking of Nonuments. Using this theater as the text of research and treating the IoTtalk voting system that engaged the viewers in the multi-media historical writing as the point of departure, this paper seeks to investigate if the viewers' collective participation in designing the monument of the Second World War simultaneously galvanized them into alternative historical writing. To deal with this issue, this paper adopts a seven-pronged strategy, including ＂semantic lacuna＂, ＂interrogative monument＂, ＂history, memory and forgetting＂, ＂plot and question design＂, ＂real-time data computation cloud＂, ＂thinking as the other＂, and ＂intersubjective dialogue＂, through which the development and connotation of alternative historical writing can be analytically discussed. Furthermore, this article intended to discuss how Nonuments uses the theater as the medium, the making of monuments as the content of the work, and the historical scene as the performing space. This transitional space that mixes the virtual with the real allows the audience to participate in the performance. In addition, Nonuments brings the participants to raise interrogative inquiries and reflect upon Taiwan's World War II history and the politics of cultural governance behind it.