在地劇場與渣滓美學：《姐夠甜．那吸》的臺式酷異戰術

Local Theater and Dreg Aesthetic: The Taiwanese Queerness of Tainaner Ensemble’s Belle Reprieve

本文自性別認同、島族政治及裸身抗爭三種面向，分析台南人劇團二○一五年春天戲水《姐夠甜．那吸》一劇的戲劇手法與修辭策略，從劇本結構、角色建構與場面調度著手，聚焦本劇所發展出的「臺式酷異」。藉由結合當代酷異理論、性別議題、後殖民論述及身體美學討論，本文延展「臺式酷異」，提出「渣滓美學」的概念，試圖梳理一套在地酷異主體的抵抗戰術。主體得就各種諧擬、挪用、拼湊、回收等方式抵禦在地父權異性戀體制，並挑戰來自歐美的酷異系譜，最終指向一種高度雜混風格。第一章節援用趙彥寧、克莉絲蒂娃、佛洛伊德、拉岡及賽爾曼論述，分析劇中的性別戲耍；第二章節結合德希達的「延異」理論、史碧娃克的「弱勢論述」以及霍米．巴巴的「雜混」、「擬仿」概念以剖析本劇的情境設定與在地元素；第三章節比較伯格與薩頓的消費凝視論述與佛斯特及馬汀的身體抗爭理論兩種派別，探究劇末裸身表演的酷異性意義。

This paper investigates the Tainaner Ensemble’s 2015 production Belle Reprieve, in order to focus on the Taiwanese queerness that is fashioned through its series of theatrical and rhetoric artifices. By weaving together gender issues, postcolonial discourses, and corporeal debates, this paper proposes a critical model of dreg aesthetics that highlights the tactical resistance of local queer subjects. The first section employs Antonio Chao, Kristeva, Freud, Lacan and Silverman to explore the gender play of the characterization. The second section combines Derrida’s notion of Différance with Spivak’s subaltern discourse and Bhabha’s concept of hybridity, underscoring indigenous staging and presention. The last section focuses on the naked performance of the final scene via the lens of Foster and Martin’s arguments regarding body protest in order to tease out the rebellious agency of the performing subjects.