以戲劇作為方法：臺灣移民工劇場發展初探（2009-2020）

Drama as Method: A Preliminary Examination of the Development of Theatre for, by, and about Migrant Workers and Marriage Immigrants from Southeastern Asia in Taiwan (2009-2020)

自一九八○年代末，臺灣隨著經濟起飛，正式引進廉價勞工；約於此同時，仲介媒合的外籍新娘也開始出現。這些來自東南亞的移工與婚姻移民者（以下通稱移民工）普遍遭受臺灣社會的歧視與法令的不公平對待。為求改善移民工的邊緣處境，邁入新世紀，社運和人權團體除了倡議立法，亦開始舉辦以移民工為主的各式文化活動，希冀幫助臺灣民眾認識移民工，扭轉偏見，同時亦是讓文化成為移民工的發聲管道。戲劇即在此背景下成為常見的方法之一，約自二○○九年有正式紀錄。以主辦單位而言，移民工劇場包含（1）專業劇團（劇場工作者）以移民工為主題創作，為其代言發聲，（2）新住民自發成立劇團，如南洋姊妹劇團以民眾戲劇培力和表達訴求，以及（3）主要由政府單位、少數為法人公益組織委託劇團招募移民工參與戲劇活動或演出，或是製作、設計以認識移民工（文化）為主題的教育性質演出或戲劇活動。此三類型尤以第三類數量最多，卻最被忽略。
本文藉著回答下列問題來考察近十年臺灣移民工劇場的成因與發展。首先，梳理促成移民工戲劇發展的社會與文化脈絡為何？探究戲劇為何會被用來作為消除偏見、培力移民工與認識多元文化的方法？接續聚焦為數最多的第三類型移民工戲劇，審視哪些政府政策促使其蓬勃發展？形式與內容呈現何種多元的樣貌？又引起哪些值得思考的問題？本文透過文獻蒐集，佐以田野調查及訪談，針對移民工戲劇發展的脈絡、類型進行概述描繪，而非針對單一演出或戲劇活動個案等進行深入分析。藉由追溯受人忽略的移民工戲劇史，本文企圖將其納入臺灣劇場史的扉頁，另一方面，亦是藉此延續移民工的聲音，希望引起更多跫音回響。

Since the end of the 1980s, Taiwan officially introduced imported cheap labor as its economy took off; around the same time, foreign brides also began to come through intermediaries to Taiwan. These migrant workers and marriage immigrants from Southeastern Asia (hereinafter simply referred to as“immigrants”) are generally discriminated against and treated unfairly by Taiwanese society. In order to improve the marginal situation of these immigrants, at the turn of the century, social activist and human rights groups, in addition to legislative advocacy, have also begun to organize various cultural activities focusing on these immigrants. It is hoped that through these cultural activities, Taiwanese people have opportunity to know these immigrants and thus reduce prejudice, and that these immigrants can also have their voices heard. Drama has become one of the common methods in this context, with the first official records appearing in around 2009. As far as the organizer is concerned, theatre for, by and about these immigrants (hereafter referred to as“immigrant theatre”) includes performances or drama activities organized by (1) professional theater troupes/ theater workers who create works to raise concerns for these immigrants, and (2) theatre troupes established by marriage migrants, such as Trans-Asia Sisters Theater, who empower themselves and express their appeals through people’s theatre, and (3) government organizations which commission theater troupes/theatre workers either to recruit immigrants to participate in drama activities or performances, or to produce educational theatre or design drama activities that help the viewers and participants understand the culture of the immigrants. Among these three types, the third type takes up the largest part, but is the most neglected.
This article examines the development of immigrant theater in Taiwan over the past decade by trying to answer the following questions. First of all, what are the social and cultural contexts that contributed to the development of immigrant theatre? Second, why is drama used as a method to eliminate prejudice, empower immigrants, and understand multiculturalism? Third, what are the government policies that have led to the development of the third type of immigrant theatre? What are its diverse forms and contents? What questions does it raise? Through literature review, field investigations and interviews, this article aims to provide an overview of the contexts and types of immigrant theatre, rather than an in-depth analysis of a single performance or activity. By tracing the neglected history of immigrant theatre, this article attempts to make it part of the history of Taiwanese theater and on the other hand, carry over the voices of the immigrants.