談笑風雲 － 諷刺之笑做為對反東德共黨治理之藝術

Abstract

1989年，柏林圍牆的傾圮，與後續引發的骨牌效應，探根究底最初的原因，至今仍有多方爭議。是美國前總統雷根毅然決然反共的功勞大，還是歸功於西歐人和平張開雙臂擁抱東歐的結果，兩派的爭論還是各執一詞。 本文擬藉由探討東德人民面對重要歷史關鍵的當下，如何在特殊的「匿棲」空間中發生覺醒和力量。呼應巴赫金討論中世紀狂歡節的功能，對照東德生活空間中，經由口說和視覺藝術營造出的氛圍；這些在匿棲中經營的諷刺與誘發的笑聲，一如狂歡節慶裡不淨 (敬) 的穢語，除了對過去產生反省，也寄望於新生的未來。這一切是東德人民發自內心的吶喊，是一種本能的表現；透過語言、肢體，和文藝創作結黨同盟，為的是實踐真正的自由平等，以達成富足安樂的目標。 不只是極權國家，任何一種政權面對人民反省的聲音，都必須深自警惕。談笑諷刺過程裡使用的話語可以輕如鴻毛，也能讓人當頭棒喝。二十年前發生在東德萊比錫的廣場靜坐，或是東柏林街頭的遊行聲援，都可能是一股自匿棲空間的單位團體或是表演創作，凝聚而來的群眾力量，化成行動，渴望重新占據原本屬於諸眾的公共領域；並且，為求改變，挺身而出。其所導致的結果，也似乎是戈巴契夫的「重建」和「開放」政策大膽推行時，未能預知的風雲變色。

The historical legacy of 1989, when the Berlin Wall fell and the cold war thawed, has triggered a domino effect and yet remained debatable. Disputes over the achievements of 1989 are evidently divided, as to whether they owe more to the resolute anti-Communisim of Ronald Reagan, or its inverse, the white-glove embrace of the East by many in Western Europe. This paper intends to explore how the people from East Germany awaked from within the power given by the special nische at the crucial moment of the time. Cross-thought on Bakhtin’s theory of the medieval carnival is the method of reflecting how this oral and visual art being represented under such an atmosphere. The management of satire and its production of laughter are similer to those unrespectable and filthy languages during the carnival. People not only examine the past, but also hope for the future. This is a cry from inner heart, an instinctive performance. Through language, physical act and artist creation can people reunite for continuing practice of freedom and equality. This does not apply to only totalitarian society, but also to all existing regime. One should be aware of any counter-voice. The event of 1989 spurred a striking transformation of Europe, which was probably unexpected during Perestroika and Glasnost, which is now a whole and free, and a reunified Germany, milestones that are being observed with celebrations all over the continent.