東南亞移民工說、演生命故事：民眾戲劇《看．見．我．們》、《窮人的呼聲》與《我有一個夢》的情動空間與政治

Migrant Workers and Marriage Immigrants from Southeastern Asia Narrating and Performing Their Life Stories: The Affective Space and Politics in People’s Theatre, Look at Us, The Cry of the Poor, and I Have a Dream

民眾戲劇的反抗性質與作為非售票的應用戲劇的一種，具體成效對籌畫者與贊助者雙方都是重要的，致使臺灣先前的研究大多聚焦參與的弱勢民眾，探究其在工作坊後可見的改變與可訪談的感受。相較之下，針對民眾劇戲劇演出的研究卻相當匱乏。若簡短論及，往往陷入沒有看到實際「效益」的死胡同與挫敗中，或常以「為民眾而演、由民眾而演、屬於民眾」的劇場美學攏統概述。從鍾喬強調民眾劇場是「對話」的文化藝術行動出發，本文認為若要尋找屬於民眾戲劇的美學語彙，關鍵或許就在審視民眾的社群特質、演出形式、訴求的目標與所欲對話之觀眾的連結。因之，透過審視三齣分由東南亞移工或東南亞婚姻移民者（以下簡稱移民工）以第一人稱說、演生命故事的演出，主張將演出視為觀眾與移民工的「相遇」，那麼，這個相遇經驗為何？據此，就觀察的三齣移民工戲劇，提出具倫理性與政治性的情動空間，或是第一人稱生命故事的情動美學來描繪這個相遇經驗。文章分為兩部分，第一部分援引發展自史賓諾莎的情動概念，從三方面分析移民工現身說、演經過裁切的生命故事，以具美感的演出與形式、情節誘發的同理、以及真情訴說或藝術轉的苦難衝擊觀眾，引起具倫理性的情動經驗。接續，以法國哲學家洪席耶主張政治和藝術都在打破主宰我們日常生活的「可感配置」的概念，審視移民工參加工作坊，以及以其為主體的演出內容如何從語言、文化等面向顛覆官方的配置，讓我們窺視平等的可能性。

Due to the nature of People’s Theatre, known for its rebelliousness and as one specific form of applied theatre, practitioners and sponsors of People’s Theatre in Taiwan greatly value and emphasize the visible effects that People’s Theatre could bring about. As a result, previous research on People’s Theatre tends to focus on examining how those participants, usually marginalized, are empowered and changed after workshops. By comparison, research on their performances after workshops is few and far between. Existing discussions, limited and short, either show frustration at the performances’ failure to generate visible social changes, or turn to a generalized concept called the aesthetics of People’s Theatre, that is, theatre for the people, by the people, and of the people. Inspired by Zhong Qiao’s referring to People’s Theatre as a dialectical, cultural and artistic act, I argue that the key to finding the aesthetics or a new perspective of looking at People’s Theatre lies in examining the nature of the group of participants, the form of their performance, and how such form may help connect the participants/performers with the audience members. In this article, I analyze three works of People’s Theatre by migrant workers or marriage immigrants from Southeast Asian countries, whose voices are rarely heard in Taiwanese society. Seeing their narration and performance of their life stories as an encounter with audience members, I propose using “an ethical and political affective space,” or “the aesthetics of affect,” to describe such an experience. Drawing on the concept of affect developing from the works of Baruch de Spinoza, the first part of the article examines how the performances evoke affective responses from the audience in three respects, which in turn causes subtle but observable ethical and political effect. The second part explores how the performances and the workshops are able to disrupt what Jacques Rancière calls “the distribution of the sensible” that dominates our life, creating new sensibility and allowing us to see the possibility of equality.