臺灣當代馬華文學劇場：窮劇場《我是一件活著的作品（readymade）》的「身」轉向

Malaysian Chinese Theatre in Taiwan: The Corporeal Turn of Approaching Theatre's I Am A Living Work of Art (readymade)

文學劇場作為一種戲劇類型，近十年在臺灣漸漸開展，然而目前作品大抵以重現在地經典文學為核心。以馬來西亞—臺灣跨國對話為長期主題的窮劇場，於二○一五年推出「要說的都在這裡－馬華文學劇場」系列作品中的首作《我是一件活著的作品（readymade）》，則透過表演身體與語義文字的辯證性，挪用、轉化甚至解構在臺馬華詩人木焱同名詩作，直指馬華抵認同的創傷與困境，進一步促進對於馬華文學既有複數框架的再思考。本文由此探問：在臺灣當代劇場系譜中，馬華文學劇場如何對臺灣的戲劇與文學領域產生實質影響，又如何藉由創新批判理論的生成，回應現有（在臺）馬華研究的關鍵議題。本文首先從劇作及詩作的後設結構出發，分析其中敘事語言與舞臺身體無法集中表述的雙重自反性狀態，以及此狀態所揭示的在臺馬華認同部署，並進一步嘗試以「持續離境」概念，指出行動主體與身處場域之間的迴圈式流動關係。本文接著轉入表演身體的高度凝鍊行動性，試圖就個體與集體兩層面的「齟齬身體」的細部分析，回應黃錦樹「失語的南方」論述，進而延展出「去身性」的批判模型，最後提出在臺馬華研究的「身」轉向的發展可能。

Literature Theatre, as a genre of performance, has gradually developed in the recent decade, with most of the kind intending to represent classic literature of Taiwan. Approaching Theatre, a theater group themed with transnational dialogue between Malaysia and Taiwan, premiered I Am A Living Work of Art (readymade) in 2015, which appropriates, transforms, and deconstructs Mu Yan's poem of the same name through the dialectical operation of performing body and linguistic lines, thus pointing out the traumatic impasse of the Malaysia Chinese disidentification and further mobilizing a rethinking of the established frameworks of related studies. In the light of this, this paper asks: in the genealogies of contemporary Taiwan theatre, how does Malaysia Chinese theatre impact on the fields of theatre and literature in Taiwan and respond/react to the critical issues of Malaysia Chinese in Taiwan through innovative theory or model? The paper starts from the meta-structure of the poem and the performance, analyzing the double reflexivity embodied by the uncoordinated nature of the narrative and the body of the performance. By articulating the disidentificatory deployment of the Malaysia Chinese in Taiwan, the paper reveals the looping interrelation between subjectivity and scenario. The paper then turns to the condensed bodies on the stage, investigating the discordant aesthetics in terms of individual and social levels. By doing so, this paper aims to extend Kim-chew Ng's concept of the aphasic South into a critical model of disembodiedness that ultimately proposes the possible corporeal turn of Malaysia Chinese studies.