家／國神話的崩離──紀蔚然家庭三部曲中的後殖民與後現代

The Collapsed of the Myth of Home and Country:The Post-colonial and Postmodern Approach of Wei-Jan Chi’s ATrilogy of Home

紀蔚然為目前台灣現代劇場「專職編劇」的獨特地位，持續發表劇作並製作演出。從他1979年發表的劇本〈愚公移山〉，在當時台灣七○年代戒嚴時期的創作氛圍裡，已透露出和同期劇作家不同的創作思維與企圖；美國學成返國後，接連創作一系列的劇作，其中《黑夜白賊》（1996）、《也無風也無雨》（1998）、《好久不見》（2004）三部曲，以家庭為主題，緊扣住台灣歷史轉變的軌跡，亦銜接上台灣文學步入後殖民、後現代對主體性的重新定位與自我認同。三部曲中運用的敘述手法與內涵，與歷史脈流對照，從紀蔚然到整個台灣，以自我揭露為手段，不斷與外在身處的環境相撞擊，亟欲要找到生命的出口。

Wei-Jan Chi takes a unique position as a “professional playwright” of the moderntheater in Taiwan, continually writing plays and making productions on stage. In1979, under the suppressed atmosphere of martial law, he published his first script,Yugong moving mountains , which had shown his distinct thinking and attempts greatlydifferent from other contemporary playwrights. He came back to Taiwan from the U.S.after having received his PhD, and subsequently finished a series of plays, includinga trilogy of home: White Thief of Dark Night (1996), Without Wind and without Rain(1998), Long Time No See (2004) . The theme of his trilogy falls on “family” and atthe same time traces the historical changes of Taiwan. It is also engaged with the postcolonialand postmodern phenomenon of Taiwanese literature, which desires to look forits subjectivity and self-identity. Through exposing himself, the narrative techniquesand content of the trilogy constantly collide with the outside circumstances in order tosearch inside for an outlet for life.