女性與國族：《人間條件二：她與她生命中的男人們》之國族寓言與歷史再現

Women and Nation: Human Conditions II: Those Men in Her Life as National Allegory and Its Representation of History

《人間條件二：她與她生命中的男人們》是「綠光劇團」在二○○六年推出的史詩般的舞台劇作品，由吳念真編劇、導演，描述女主角Yuki的一生。內容跨越一甲子，從一九四○年代延伸到二十一世紀的現代臺灣，以幽默、溫馨的風格風靡臺灣劇場觀眾，締造極佳的票房。吳念真表示此齣戲是「向臺灣女性致敬」，尤其是老一輩的阿嬤在面對文化變遷與困境時所展現的幽默態度、智慧與韌性。表面上，這齣戲是一位成長於日據時期的本省女性Yuki一生的故事，但實則再現重要歷史時刻，利用其戲劇敘事編織一個國族敘事，是弗雷德里克．詹明信（Fredric Jameson）所指的國族寓言。此篇論文先簡述國族建構派的理論與在臺灣脈絡下重新審視「國族寓言」的概念。然後透過構成國族敘事的重要元素來探討這個作品如何敘述展演臺灣，聚焦於選擇再現的歷史事件，描繪的族群關係，與其建構、強調的臺灣特質或精神，同時審視此劇與一般後殖民文化想像中「女性為國族」的文學比喻有何異同。Yuki體現國族歷史、文化、及其人民美好特質的三位一體，形成一完整的臺灣國族敘述，但是此建構仍然承襲一般後殖民男性知識分子打造國族的傳統運作模式，認為反抗外來政權的壓迫為首要之務，而忽略其他因階級、性別、性欲等差異造成的內部壓迫。雖成就國族，Yuki始終是父權社會下的犧牲品。

Human Conditions II: Those Men in Her Life, staged by the Greenray Theatre Company in 2006, dramatizes the life of its female protagonist, Yuki. This epic production, spanning over sixty years from the 1940s to the present day, swept Taiwan with its humor and warm sentiments. According to playwright and director Wu Nianzhen, the play is intended to pay homage to all Taiwanese grandmothers, or an older generation of Taiwanese females, who are strong, accommodating, and resilient in encountering changes of various kinds. On the surface, this play offers a view of the life story of the female protagonist growing up in the Japanese colonial period through her relations with the men who play a decisive role in her life. At a deeper level, the play weaves a national narrative through its representation of important historical moments. It is what Fredric Jameson calls national allegory. This paper first briefly examines important constructivist theories of nationalism and revisits Jameson’s concept of national allegory in the Taiwanese political context. Then it investigates how this work presents Taiwan, focusing on the selection and representation of historical events, the dramatization of ethnic relations, and the construction of Taiwaneseness or Taiwan spirit, all of which are critical elements of narrating a nation. More importantly, this paper compares the tropes of “women-as-nation” in this play with other post-colonial cultural imagery. Yuki embodies the trinity of history, culture and the moral values of the people, completing a Taiwanese national narrative. However, this construction follows the traditional postcolonial nation-building model in which the male intellectuals privilege resistance against foreign oppression over resistance against other types of internal oppression arising from class, gender, and sexual differences. Only at the cost of the female subjectivity in a patriarchal society is Yuki able to re-present the nation.