八○年代的身體轉向與其不可翻譯性：王墨林與黎煥雄的劇場實踐

The Untranslatable: Wang Mo-lin’s and Li Huan-hsiung’s Theatrical Practices in the 1980s Taiwan Theater

1980年代前後，臺灣現代劇場重新以「身體」作為關注與方法，提出了一系列小劇場、行為藝術等的表演，形式上顯著區別了前一階段的話劇演出。這一波對於身體的關注，可以更早從七○年代的雲門舞集成立所形塑的現代中國人身體中觀察。帶有強烈國族主義色彩的身體展演，是所謂「回歸現實」世代的重要表徵，也影響了八○年代的劇場身體轉向。本文透過翻譯研究，觀察王墨林與黎煥雄分別於《海盜版．我的鄉愁我的歌》以及河左岸劇團「迷走地圖系列」劇場作品所呈現出的身體，就所謂「不可翻譯性」，重新介入現代性翻譯建制中對於主體與自我的認識，以時間與空間的批判性理解，對兩位劇場實驗者的國族臺灣，提出一種新的可能性解釋。

Using the lens of translation studies, this article examines the concept of the body in the 1980s Taiwan theater through their plays, director Wang Molin’s Pirated: My Nostalgia, My Songs, and Li Huan-hsiung’s series of Map of Maze. With regards to the idea of the untranslatable, this article re-examines the problematic of the subject and the self in the regime of the translation. In so doing, it aims to provide a critical reading of nationalist Taiwan. Both directors mark a new period of theatrical aesthetics by exhibiting a new performance style that differs from the spoken drama of the old. Their works also signify a bodily turn in post-war Taiwan theater performances.