那一年，亞陶在殖民地博覽會看了峇里島劇場的表演一個在殖民帝國陰影下的劇場事件

In That Year, Artaud Saw the Balinese Theatre Performance at the Paris Colonial Exposition a Theatre Event under the Shadow of Colonial Imperialism

1931年亞陶（Antonin Artaud）於巴黎的萬森訥森林（Le Bois de Vincennes）觀看了一場來自印尼峇里島的舞蹈劇場演出。很明顯地，亞陶深受該次表演的啟發、感動與震撼。這次的表演也激發他撰寫〈論峇里島劇場〉（”Sur le théâter balinais”）及其他一系列的宣言、文章與書信。這些宣言、文章與書信最後收錄於《劇場及其複象》（Le Théâtre et son double, 1938）一書中，並成為殘酷劇場的理論基石。這場峇里島劇場的表演在名為「1931年巴黎國際殖民地博覽會」（L'Exposition coloniale internationale de 1931 à Paris）的「藝術節慶」中發生。這場來自印尼的表演既是個饒富異國色彩的「藝術節慶」節目，也是西方劇場史的重要轉捩點，它更是傅科（Michel Foucault）所謂的「事件」，一件「不是語言也不是意義可以窮盡的事件」。這個事件是一個現代劇場史「無法化約的崛起」（irreducible emergence）與不連續的發生（discontinuous occurrence），改變了戲劇傳統與劇場知識的延續與累積，促成了當代另類或前衛劇場風潮的誕生。1931年峇里島劇場的演出所突顯的是事件的斷裂性、變異性、獨一性、中介性與論述詮釋性。本文的目的在追蹤、探索與「那一年」事件相關的背景、過程及其效應，分析誤讀與挪用所扮演的角色。筆者將運用傅科的事件理論與論述分析方法，主張並論證「那一年」的事件實乃一詮釋的事件，也是傅科所謂「知識的斷裂」（epistemic break）與變異的事件，說明「那一年」的事件是知識重新定位、形構、重組與傳播的契機，剖析事件的本身不是什麼殖民盛世的再現，也不是什麼「時代思潮與精神」（Zeitgeist）的體現。最後筆者解釋並主張1931年峇里島舞蹈劇場的演出是一連串機會與關係的連結、不同學科知識的連線，以及知識與權力的重新脈絡化。

In 1931, Antonin Artaud saw a dance theatre performance from Bali at the Bois de Vincennes in Paris. It is obvious that Artaud was greatly inspired, touched, and shocked by the show. This performance triggered his desire to write the essay ”Sur le théâtre balinais” (”On the Balinese Theatre”) and a series of manifestoes, articles, and letters. Many of these writings, which later became the cornerstone of his theoretical formulation of the theatre of cruelty, were collected in his seminal book entitled Le Théâtre et son double (The Theater and Its Double) published in 1938. This Balinese theatre performance was one of the many highlights happening in the Colonial Exhibition of 1931 in Paris (L'Exposition coloniale internationale de 1931 à Paris) from May 15 to November 15, 1931. This performance from Indonesia is at once an exotic arts festival program in the Colonial Exposition and a significant turning point in Western theatre history. It is above all a Foucauldian ”event,” an event ”that neither the language (langue) nor the meaning can quite exhaust.” This event is an ”irreducible emergence” and a ”discontinuous occurrence” in modern theatre history, which eventually revamps the traditional theatre, changes the course of theatre history, institutes contemporary alternative theatre, and initiates the avant-garde theatre movement in the 1960s. What this performance distinguishes is the rupture, transformation, singularity, liminality, and discursive interpretability of the event. The purpose of this paper is to trace and explore the background and effects which are related to the 1931 event. Meanwhile, it aims to analyze the role of misreading and appropriation in the event process. Michel Foucault's theory of the event and discourse analysis is employed to argue that the 1931 event is an event of interpretation and an event of epistemic break. In addition, I will argue that the 1931 event is an event of knowledge re-formulation, discourse re-interpretation, and information re-constitution. It is by no means merely an event of colonial re-presentation, nor a manifestation of the so-called ”Zeitgeist” or the defining spirit or mood of a particular period of history. I will maintain that the 1931 Balinese theatre performance is a threshold or a chance event which re-contextualizes our conceptualization of theatare knowledge and power relations.