全球化異己、恐怖主義、與創傷記憶：後9/11英美戲劇及類影像紀錄

Abstract

蓋達組織在2001 年9 月11 日對美國紐約雙子星世貿大樓及華盛頓五角大廈發動了 自殺式的恐怖攻擊，引發布希亞所謂「革命景觀」(spectacle of revolution)效應，在閱聽 大眾的情感結構引發震撼性的衝擊。9/11 恐怖攻擊引發一連串的後續事件，包括英美以 反恐之名啟動「愛國法案」、軍事主義，並加強對公民和非公民的監視；英美聯袂攻擊 阿富汗、伊拉克；阿布格萊卜(Abu Ghriab)，關達那摩(Guantanomo)爆發美軍虐俘事件。 從美國地平線消失的雙子星大樓(twin towers)無巧不巧正成為一則寓言，以其消失 (disappearance)來見證帝國主義和資本主義無所不在(global presence)；以其雙重性 (twin-ness)隱喻全球化機器自我逆反機制(counter-appartuses)所製造出的異己(alterity)和 恐怖主義；以去物質化(dematerialization)來演繹異己和恐怖主義自帝國內部核心反撲的 寓言。 本研究計畫將運用全球化理論與表演理論，聚焦於後9/11 的英美戲劇和類影像紀 錄，探索英美表演藝術家和影像工作者，如何以既是全球化體系的共謀，亦是異己的雙 重身分，往復於歷史事件以及全球化資訊體系所製造的「非事件」(non-event)(布希亞 2006：113-115)(根據預期、虛擬即將發生的事件)之間，展演9/11 恐怖攻擊及其後續事 件對個人記憶和日常生活所引發的衝擊；探索「真相」與「非事件」背後的政治操弄及 資訊壟斷；揭露歷史集體創傷、反恐戰爭、和國家監控之間的的弔詭矛盾。 本計畫為三年期計畫。 第一年計畫：個人即政治的轉化：後9/11 美國戲劇。筆者將聚焦於美國東西兩岸的 後9/11 戲劇創作，探討表演藝術家如何秉承八○年代中期以降的「個人即政治」(the personal is the political)表演政治及美學，透過日常生活的災變和創傷展演，將個人的私 密寓言連結至國族政治寓言，並探討異/己之相互易位、轉化，如何引發第一世界與第三 世界之疆界滑移。 第二年計畫：恐怖主義情境移轉與「非事件」摹擬：後9/11 英國戲劇。筆者將探討 英國政治劇場如何展演英美政客透過政治操縱，壟斷全球化資訊體系，來產生「非事件」 (non-Event)，以進行反恐戰爭，打擊異己。這些政治劇場亦批判美軍虐俘的戰爭情色景 觀，視其為英美帝國恐怖主義之反諷。 第三年計畫：革命景觀與戰爭色情內爆：後9/11 類影像紀錄。筆者將聚焦於紐約 Inconvenient Evidence 美軍虐俘相片展覽，以及幾部類紀錄片Fahrenheit 9/11、The Road to Guantánamo 等，探討9/11 恐怖攻擊的革命景觀、反恐戰爭機器造成的「真相」與「非 事件」的混淆，以及美軍虐俘照片引發的戰爭色情內爆。這些類影像紀錄的擴散與傳播， 不僅反映了恐怖主義情境的移轉以及閱聽大眾對9/11 事件情感結構的逆轉，亦顯示了影 像吸納事件，也為消費提供事件；真實吸納虛構的能量，其本身變成了虛構。

This research will employ globalization theories and performance theories to investigate Post-9/11 American and British Theatre and Quasi/documentaries. On September 11, 2001, Al-Queada launched terrorist attacks on the World Trade Center in New York and Pentagon in Washington, causing “spectacle of revolution”. In response, the United States government and British government initiated a series of patriotic and military acts, strengthened the surveillance on both citizens and aliens, and enhanced security check on the border. Furthermore, American and British armies started joint attack on Iraq in the name of Anti-terrorist War since March 19, 2003, and American soldiers abused and tortured prisoners of war in Abu Ghraib and Guantánamo, which have impinged impact on mass media audience. This research will study how theater artists, photographers, and documentary makers criticize the twin-ness between capitalist globalization machine and terrorism; how they play the dual role of complicity and alterity in-between event and “non-event” (Baudrillard 2006: 113-115) to re-enact personal and collective trauma; how they interrogate American and British national surveillance and foreign policies. This research consists of three year projects. First year: The Personal is the Political: Post -9/11 American Theater. With an emphasis on the politics and aesthetics of American political theater and solo-performance, I will investigate how theater artists dramatize the impact of terrorist attack on their every day lives, causing personal and collective trauma, and how they seek reconciliation and transformation between self and alterity in their performance. Second year: The Terrorist Situational Transference and the Mimicry of Non-event: Post 9/11 British Political Drama. I will investigate how playwrights and theater artists combine Brechtian techniques, verbatim, news footages, documentaries, political scandals and interviews to make parody of the “twin-ness” between imperialism and terrorism and to interrogate the politicians’ manipulation of media in creating non-event to retaliate the alterity. Third year: The Spectacle of Revolution and the Implosion of the “Pornography” of War: Post 9/11 Quasi/documentaries. I will focus on Inconvenient Evidence, New York’s exhibition of Abu Graib POW Photos, and such quasi/documentary films as Fahrenheit 9/11 and The Road to Guantánamo to investigate how they cause the implosion of the “pornography” of war and interrogate the terrorist situational transference in mass media audience’s structure of feeling.