以痛楚為方法──「特權的肉體論」與唐組早期跨界作品中的實踐

Using Pain as a Method: Practice of“The Privileged Body”in Cross-Border Attempts During the Early Kara-gumi Period

日本著名的前衛小劇場運動（又稱「地下戲劇」）興盛於1960年代後期至1970年代中期，此後便因社會環境的變化而衰退，各團體不得不謀求轉型。唐十郎帶領的紅帳篷「狀況劇場」（1963-1988）曾是最受歡迎的前衛劇團之一，卻在1988年面臨解散的命運，唐另起爐灶創立劇團「唐組」。這個新創劇團在當時全新的資本社會下幾經波折，而唐則做了各式各樣的跨界嘗試，例如放棄帳篷進入安藤忠雄建造的劇場「下町唐座」（1987-1988），或是追隨亞洲電影熱潮而與電影導演林海象合作，為臺日共同製作的電影《海鬼燈》（1996）撰寫腳本並擔任主演。
這些乍看之下跟隨泡沫經濟潮流擁抱金錢和物質的嘗試，並不意味著唐就此放棄前衛時期的理念和追求。本文從唐最知名的戲劇理論「特權的肉體論」展開，由沙特存在主義切入探討，希望指出該劇論儘管看似針對表演者的肉體，實際上是呈現出演員肉體與觀眾所見「影像」的一體兩面，用意在凸顯人與社會的糾葛，近似於沙特的「處境」。接著分析唐組成立前後的三部作品，包括劇作《塑膠膜之城》（1985），以及兩個跨界合作《漂泊的珍妮》（1988）和電影《海鬼燈》，希望指出唐在歷經1990年代的摸索後逐漸建立起劇論得以執行的方法論，透過物體帶來肉體上的壓迫和痛楚，讓人與社會的抽象糾葛得以顯現。是以，唐實際上仍延續了早年的追求，並且使用痛楚為方法令原本不夠完備的「特權的肉體論」得以完整。

The famous Japanese avant-garde theater movement (Angura) reached its peak in the late 1960s to mid-1970s, and subsequently faced numerous difficult challenges. Kara Juro’s“Situation Theater”(Jokyo Gekijo, 1963-1988) was one of the famous avant-garde troupes in 1970s, but it disbanded in 1988 and Kara created a new troupe“Kara Group”(Kara-gumi, 1988-). This newly founded troupe had a difficult beginning, since the social conditions had changed drastically. During this period Kara took several cross-border attempts, such as to give up his famous tent-play and enter the theater building“Shitamachi-Karaza”(1987-1988) which was built by Andou Tadao (1941-), or to collaborate with movie director Hayashi Kaizo as scriptwriter and leading actor in movie Umi hoozuki: The Breath (1996), which was produced by both of Japan and Taiwan.
Kara Juro’s cross-border efforts seem to emulate the trends of the Bubble Economy, embracing financial support and material resources. However, this description does not denote that Kara abandoned his ideas or pursuit of avant-garde theater. This study examines Kara’s early attempts during the Kara-gumi period by analyzing his most well-known dramatic theory,“The Privileged Body”(Tokkenteki nikutairon). Although the theory uses the term“body,”it extends beyond a performer’s physical body. It considers the performer’s body and the“image”perceived by the audience as a unified whole, which emphasizes the struggle between the individual and society and is similar to Sartre’s concept of“situation.”This study analyzes three works from the early establishment of Kara-gumi, namely, the play Castle of Plastic Wrap (1985) and two cross-border attempts Wandering Jennie (1988) and the film Umi hoozuki: The Breath. This section explores Kara’s development of a practical method for applying his dramatic theory through these works. Kara used objects on stage to impose physical oppression and pain on the performer’s body; through this method, he transformed an abstract concept of the“struggle between the individual and society”into a visible and tangible experience. Thus, we can infer that Kara continues his pursuit from his early career, using pain as a method for completing the unfinished aspects of the theory“The Privileged Body.”