當代愛滋社群政略之悖論：《叛徒馬密可能的回憶錄》之戲劇批判戰術

Paradox of Contemporary AIDS Community Politics: The Theatrical Critique and Tactics in The Possible Memoirs of a Traitor

自愛滋作為想像之敗德隱喻所導致之社會集體暴力與歧視迄今仍在，除卻污名的行動與根深蒂固的污名想像長期衝突，導致愛滋社群之基本權益與相關議題仍處危機之中。以愛滋為題的劇場作品近年日起，四把椅子劇團之《叛徒馬密可能的回憶錄》（2017），不以愛滋病徵為論述主題，而是聚焦於愛滋在風俗想像與醫療操作之中受到物質化之動態過程，並以紀錄片拍攝之後設結構，凸顯當代愛滋社群結構的凝聚與潰散。如此同時進行之凝聚與潰散，指向本文所謂當代愛滋社群與運動困境悖論的核心。本文首先梳理愛滋社群政略悖論之脈絡由來，檢驗當代國內外愛滋戲劇之發展情況，試圖勾勒台灣愛滋劇場長期以來之外部接合與內部運作，以及可能之困境。本文接著聚焦本劇所形構之敘事主體衝突與史學史酷兒時間性，提出當代弱勢社群抵抗戰術的可能草案，並更關鍵地指出一種得以將愛滋社群政略悖論與動態社會發展之間相互關係納入考量的正義政治的迫切性。

The social violence and discrimination caused by the stigmatization of AIDS as metaphor of deviation still pervade nowadays, rendering the related issues of AIDS at stake. Instead of describing the syndrome of illness, Four Chair Theater's The Possible Memoirs of a Traitor (2017) focuses on dynamical process in which AIDS/HIV has been materialized within the apparatuses of cultural imagination and medical operation. Staged with the metastructure of documentary shooting, the play underscores the ambivalent attributes— aggregation and collapse—of contemporary AIDS community, which point to the paradox of the AIDS identification that this paper aims to discuss. This paper first articulates the context of the AIDS identification by investigating the histories of AIDS theater and performance around the globe and then moves on to delineate the interior operation, the exterior apparatus, and the possible impasse of the AIDS theater in Taiwan. This paper then probes into the narrative conflict and historiographic queer temporality presented in The Possible Memoirs of a Traitor in order to propose possible activist tactics for contemporary minorities and further point out a necessary politics of justice that takes into account the intervulnerable relationship between the AIDS community politics and the dynamic scenarios of society.