身體、記憶與創新：當代傳奇劇場《慾望城國》生成的脈絡化

Body, Memory and Innovation: Contextualizing the Genesis of The Kingdom of Desire of the Contemporary Legend Theater

本文以1980年代吳興國成立的當代傳奇劇場之首齣戲碼——《慾望城國》作為研究主題，藉由脈絡化（contextualize）這齣當年堪稱成功的著名戲劇的生成過程，以掌握傳統戲曲革新的創新手法與生成契機。臺灣本土意識在1980年代顯著發展，後期也發生關鍵的解嚴事件，這段期間也是表演藝術界創新的高峰期。縱使本土化主流在此時方興未艾，然而藝術作品的創新原則，卻不單單仰賴國族文化（national culture）的大方向，更關鍵的是藝術內部因素的考量、全球化趨勢的影響，加上藝術家自身生命際遇對此整體的回應，才綜合構成了各個藝術作品的靈魂與形貌。本論文旨在釐清該劇作在時代變遷中的跨界實驗技法，並著重探討審美價值對於其創作策略的影響，也嘗試對於藝術社會學的建構主義有所修正：藝術作品不能單方面被解釋為歷史社會的建構物，也不只是單純對於外部社會政治變遷的直接反映（reflection），而是更接近P.Bourdieu所謂的折射（refraction）：文化場域的生產，並非直接反映了其他政治社會場域的條件，而是必須因應文化場域內部的慣習與運作邏輯後，才做出再轉譯（retranslation）的文化生產。亦即藝術品並不是社會關係的直接的模仿與複製品，而是以藝術來表達的表意系統（system of significance）；美學符號的形式關係安排，再現了作品的社會脈絡。表演藝術家的身體，既是個人的，也是文化的，同時是美學的，藝術家以「記憶」與「技藝」為基礎，並且以創造性的語言和程式，體現生命與文化素材的美學編碼工程，並追求美學上的創新。

Since the lifting of the martial law in 1987, Taiwanese has been facing the trends of reflecting and researching the social norms. The performing artists, taking often the initiative in the cultural innovation, also expressed their ways of reconstructing the cultural subjectivity during the 1980s.There are some reasons for choosing the 1980 as a starting year for this research: not only because of the end of martial law, which has brought a new era of cultural diversity, but also because of the significant development of the ＂Taiwanese consciousness＂ occurring in the 1980s under the trend of localization. Furthermore, the 1980s also symbolizes the peak of innovation in the world of Taiwanese performing arts; some groups were created according to an alternative aesthetic principle, others changed obviously their previous artistic style. Some artists of traditional performing arts, like Chinese opera, started trying to interpret the western classical scripts in the pursuit of creative innovation. In this paper, we try to revise approach of social construction of sociology by analyzing the artworks as a ＂refraction＂ rather than a ＂reflection＂ of the conditions of other social fields, as P. Bourdieu affirmed. That is, an artwork is not a direct copy of its social relations, it is a artistic system of significance composing of the aesthetic elements and social traces during the process of creation. The body of artiste is at the same time individual, aesthetic and cultural, and the artworks represent an embodiment of her/ his life circle, significant memory, artistic technology and social context; even the most avant-garde, experimental and innovative artwork is not an exception.