零雨〈特技家族〉詩作的荒謬劇場性－－與商禽〈門或者天空〉、村野四郎《體操詩集》的比較討論

Theatricality of the Absurd in Ling Yu's Poetic Work “Circus Family” – In Comparison with Shang Qin's “The Door or the Sky” and Murano Shiro's Poems for Gymnastics

零雨〈特技家族〉以九首詩系組，論者往往聚焦詩中主體的運動性，以及包含運動身體的空間性。就技術面考量，詩中主體的運動變化，乃至於空間之包容，已無須再討論。本論文的興趣動機乃在於，主體身體運動與空間包容間的存有，亦即存有之詩美學。然則在論述切入上，筆者並不想置懸零雨〈特技家族〉於現代詩史之外。因為就文本精讀可以發現，〈特技家族〉詩中那主體，固然可從日本村野四郎〈體操詩集〉看到那運動性相似之處。然則，在質感上村野四郎文本在寫實即物中發散詩意，零雨則出入虛實有著超現實底蘊。特別是零雨詩中許多對身體動作細節之描述，早不在身體特技之呈現，而根本在展演中凸顯主／身體在存有上的荒謬性，以及應對命運的艱困。由特技身體到荒謬身體，其展演空間層次便非馬戲團空間，而更在對我們存有空間乃至於歷史空間的指涉。就此而觀，零雨〈特技家族〉實與商禽〈門或者天空〉有更多接近之處，也接匯戰後臺灣現代詩在 1960 年代中末期起一系列帶有荒謬劇場意味的詩作，乃至於詩劇文本間的論述管道。

A nine-poem series, Ling Yu's “Circus Family” is often discussed in terms of the nature of the poetic subject's motions and the spatiality of body movements. The two motifs by themselves may have been well studied on the technical level, an existential reflection on the relation between the subject's body movements and the incorporating space may yet promise a poetics of existence. This article intends to elucidate such an aesthetic dimension in “Circus Family” in the historical context of modern poetry, bearing in particular on its similarity with the work of Murano Shiro, a Japanese poet whose Poems for Gymnastics also witnesses a subject in mobile body movements.While Murano Shiro's poem emanates poetic quality in its realistic representation of the physical and the material, Ling Yu's entails a sense of the surreal in the free shift between the abstract and the concrete. Ling Yu's descriptions in details of body movements certainly do not gear toward representing stunts. Rather, the performing act highlights the absurdity of existence as well as the hardship of destiny in face of a human subject with a body. When a body of skills turns into that of the absurd, the space of performancelikewise is no mere circus but that of the existential, even the historical. Viewed in such a context, Ling Yu's “Circus Family” resembles Shang Qin's “The Door or the Sky” in many ways. This study thus demonstrates the link between “Circus Family” and a strand of Taiwanese modern poetry in the 1960s, which carries a hint of Theatricality of the Absurd. The study also points out a dimension of“Circus Family” in which an inter-textual discussion of poetry and drama may be possible.