标题: 去殖民、去冷战与去帝国的阈限性:以波瓦新闻剧场与东亚流行文化为方法的社区即兴喜剧《大歹纪》
作者: 黄浩威
关键字: 被压迫者剧场;新闻剧场;义大利即兴喜剧;东亚流行文化;戏剧盒;新加坡剧场;Theater of the Oppressed;Newspaper theater;Commedia dell'Arte;East Asian popular culture;Drama Box;Singapore theater
公开日期: 1-十二月-2019
出版社: 国立阳明交通大学出版社
National Yang Ming Chiao Tung University Press
摘要: 新加坡华语剧场的研究大多从历史线形式或分段式角度分析,未曾将其文化实践置于后殖民、后冷战与后帝国的脉络中思考。本文的研究对象是新加坡最为活跃之一、具社会批判意识,并以华语社区剧场着称的剧团-戏剧盒。剧团一方面必须应对政府具帝国想像的“环球艺术城市”政策,同时受制于沿袭自英殖民体制的多元文化主义话语,并在后冷战脉络中以英语为工作语言的环境中,实践具有政治批判与社会参与意识的华语剧场。笔者认为,通过借鉴陈光兴(2006)“亚洲作为方法”思考剧团的文化实践,能彰显其文化干预在后殖民、后冷战与后帝国脉络中的意义。即兴喜剧系列的《大歹纪》是戏剧盒最为着名的社区剧场制作之一,该剧在不同政府组屋区巡演,具有强烈的义大利即兴喜剧的风格,应用奥古斯都.波瓦(Augusto Boal)被压迫者诗学(poetics of the oppressed)中的新闻剧场(newspaper theater),并挪用东亚流行文化针砭时事。笔者将重点论述2007年7月4日在牛车水广场(Kreta Ayer Square)的演出。该地点位于已故建国总理李光耀政治选区的一个户外市民空间,而演出的社会政治意义重大,不仅戏谑新加坡2006年大选,质疑高薪养廉、能贤制度与精英主义,亦反思选民的政治冷感、保守与短视。《大歹纪》虽可于去殖民、去帝国与去冷战的脉络中探讨,但由于剧团与政府有着既协作亦抗争的多重关系,该剧的文化抗争有一定的阈限性-此一反思是“亚洲作为方法”警惕二元对立思维模式的回应。
The research on Singapore Chinese theater has largely focused on the study of theater groups, productions and/or practitioners within fixed historical timelines. There exists a gap in the consideration of how socially engaged Chinese theater in contemporary Singapore can potentially contribute to the discourse on decolonization, de-Cold War and de-imperialization. This paper examines Drama Box, one of Singapore's most prolific theater companies, known for its socially engaging Mandarin productions and community theater. Drawing from Chen Kuan-hsing's "Asia as method", I consider the theater group's cultural practice in relation to the state's ongoing project for developing Singapore into "a global city for the arts," the official framework of multiculturalism which draws from British colonial legacies, and the post-Cold War milieu for using Mandarin as a medium for political critique and social engagement in Singapore where English is an official working language. Focusing on the 2007 production of News Busters!, Drama Box's Mandarin community comedy theater series touring in different government housing estates and inspired by the farcical and satirical conventions of Commedia dell'Arte, I analyze how it appropriates Augusto Boal's newstheater techniques and East Asian popular culture genres and motifs for sociopolitical critique. Paying particular attention to the performance at Kreta Ayer Square, I examine the sociopolitical significance of its satire in an open civil space located in the late Minister Mentor Lee Kuan Yew's constituency. This is a play that has satirized the Singapore General Election in 2006, questioned the government's rationale for high ministerial salaries, meritocracy and elitism, and reflected on the political apathy, conservatism and myopia of voters. While the cultural intervention of News Busters! potentially contributes to decolonization, de-Cold War and de-imperialization, its liminality lies in Drama Box's multifaceted relationship with the state, which is simultaneously collaborative and oppositional. Such an understanding problematizes binarized thinking, as proposed by "Asia-as-method".
URI: http://dx.doi.org/10.6752/jcs.201912_(29).0007
http://hdl.handle.net/11536/157993
ISSN: 1816-0514
DOI: 10.6752/jcs.201912_(29).0007
期刊: 文化研究
Router: A Journal of Cultural Studies
Issue: 29
起始页: 123
结束页: 160
显示于类别:Router: A Journal of Cultural Studies


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