虛擬肉身與數位現場之間：後疫情時代臺灣視窗裡的線上戲劇「新現場」初探

From Virtual Corporality to Digital Liveness: “Liveness” Redefined by Post Pandemic Online Theatre

本文以近年對歐亞地區國際藝術節中的線上戲劇觀察與紀錄為基礎，透過問卷與深度訪談、文獻搜集等方式，調查並對照臺灣能見及所見的後疫情時期在地、亞洲、乃至全球各類線上戲劇發展情形，嘗試以地處亞洲的臺灣為檢視和觀看線上戲劇的視窗，追蹤並觀察在地線上戲劇的參與和容受情形。本文首先分析臺灣地區觀眾和戲劇工作者參與線上戲劇（包含觀看和參與製作演出）的整體樣貌，接著將綜合訪談以及問卷調查所得之線上戲劇表演節目，歸納為三類線上演出型態，即傳統的直播或錄播、互動性直播與錄播、參與式數位現場等，並分別採樣一個節目或演出平台進行個案討論分析之。本文具有雙重意圖，一方面調查臺灣戲劇產業在當地疫情下，發展出什麼樣的在地線上戲劇模式，另一方面則調查國際線上戲劇類型在臺灣的容受情形。本文將進一步綜合討論這兩個途徑的調查所得，探討後疫情時代臺灣視窗裡的在地、亞洲乃至國際線上戲劇在（全球）戲劇產業發展史中的可能意義。本文最終意圖在於以臺灣視窗所能採樣到的線上戲劇為個案研究的取樣基礎，嘗試探討後疫情時代不同形式的線上戲劇如何延續或翻新既有的戲劇產業結構乃至戲劇美學概念？特別是，線上戲劇透過虛擬肉身建立的數位現場，除了作為實體劇場特殊時期的替身，它們還提煉出什麼樣的更深沈的戲劇核心價值？

This paper takes some online performances of Asian and European international arts festivals viewed in Taiwan, examining the exchange of digital theatre programs and aesthetic thoughts. To keep close and immediate observations and recordings of how the Covid-19 pandemic has impacted the global theatre industry since 2020, this paper discusses and analyzes the results of questionnaire and in-depth interviews conducted by the author in the last two years. To probe into the types and styles of some 70 digital performances created during the lockdown of Asia and Europe and collected in the questionnaire, I will then make three case studies, each exemplifying the three online theatre categories, i.e., streaming theatre programs, interactive online performance, and participatory digital theatre. The objectives of this paper are to make a thorough investigation of local theatre practitioners’ investment on online theatre experimentation, as well as their reception of international digital theatre trends viewed in Taiwan. The ultimate goal of this paper is to take the local, Asian and global online efforts, arguing how they may have redefined the sense of liveness of conventional theatre, and hereby made the digital turn in theatre history as well as historiography during the post-pandemic era.