經典、重詮、男戲：「1/2Q劇場」的蹊徑與意境

Classics, Reinterpretation, and Masculine Performance: An Alternative and Innovative Route of 1/2Q Theatre

本文探討「1/2Q劇場」的「新崑劇」之路，相對於「國光劇團」的「女戲．新京劇」系列，逐步形成一種「男戲」的視野。團隊主要成員（導演、編劇和核心演員）皆為女性，更因核心演員楊汗如為「女小生」，故其作品有意識地對傳統崑劇中的「男性角色」進行另類深掘。本文以其兩部代表作：二○○八年的第五號作品《半世英雄．李陵》與二○一二年第七號作品《亂紅》為討論主軸。《半》劇是傳統折子戲《牧羊記．望鄉》的想像與延伸，《亂》劇是名作《桃花扇》的化用與擬作；一談武將李陵，一談文人侯方域。此一女性製作團隊，能將兩位敗戰投降、貳臣遺民的男人，以雙重／多重視角，剖析內心世界，開啟角色間的反省與對話，從「敘事」與「觀點」扭轉戲曲傳統主題與表現手法。這般以深厚傳統素養進行經典重詮的手法，可謂臺灣新生代戲曲界中，以小搏大，走出一條創意蹊徑的代表性劇團。

In contrast to the series of “feminine plays” of GuoGuang Opera Company, 1/2Q Theatre continues to experiment with its invention of “masculine plays.” The core members of the troupe, including the director, playwrights, and players, are female, so as a matter of fact, they are consciously investigating these male characters from female viewpoints. This paper will discuss two works of the troupe: the 2008 production Li Ling: the Abandoned Hero, and the 2012 production The Legend of Peach Blossom Fan. Li Ling was an imaginative extension of a traditional zhezixi, Watching Homewards, while The Legend was the mimesis and transformation of the classical Peach Blossom Fan. In the former, the male protagonist is the martial general Li Ling, in the latter, the literatus Ho Fangyu, but both men are seen as traitorously surrendering cowards, by some observers’ perspectives. 1/2Q Theatre designed different narrating voices to dig out the characters’ inner worlds, and in the resulting dialogue revealed these two men’s reflections and regrets; that is the way this female troupe transformed the traditional themes of kunju. In my opinion, 1/2Q Theatre represents a new generation with full creativity in melting traditional aesthetics by reinterpretation of the classics.