請你成全他去摔吉他：毀滅樂器的行為論述，以濁水溪公社為例

摔吉他，或是摧毀其他樂器的行為，直到今日仍不停在各種場域演出中出現，儼然成為流行音樂，特別是搖滾樂演出中的某種特殊形象或儀式，甚至成為在其他如電影或戲劇領域中，最直接廉價地展現所謂「搖滾精神」的手法；以儀式的、文化圖騰的、或是象徵的方式存在。但在真正動手砍劈或是燃燒樂器的音樂家、樂手、演奏者心中，那一瞬間的想法是什麼？真的就跟那些夸夸其談的學者專家們的解釋一樣嗎？著者自2003年加入臺灣獨立樂團「濁水溪公社」擔任貝斯手，直到2020年樂團宣布解散的近二十年間，處理過、或直接間接於演出時摧毀過的樂器超過六隻。雖未有確實記錄，但自信應為臺灣樂壇之最—畢竟濁水溪公社是「臺灣唯一享有行動及言論免責權的搖滾樂隊」－－自認有一定的責任與義務，來釐清摔吉他這項行為，於實際發想與執行者：樂團成員或樂手們中真正的想法。本文首先定義摔吉他的行為規範與討論範圍，並敘述包括歐美搖滾音樂場景中著名的破壞樂器事件，以及濁水溪公社的行動紀錄。分析當前對於摔吉他行為的各種解釋，以為既成論述基礎；並以實際實行者的角度，闡述為何來自非樂手觀點的解釋都是無意義的隔靴搔癢、真正履行者思考角度為何、並以音樂製造與執行者的觀點，展望摔吉他行為的必然衰落，與再起的可能。

The act of smashing guitars or destroying instruments has been a recurring sight in various performances, particularly in the realm of pop music, specifically in rock music performances. It has even become a cheap and direct way of showcasing the so-called ''Rock Spirit'' in other fields, in a ritualistic and symbolic manner. What do musicians think in that moment of actually destroying or burning instruments? Is it really the same as the explanations of scholars? The author has been the bass player of Taiwan indie band ''LTK Commune'' from 2003 to 2020, and has handled or indirectly destroyed more than six instruments during performances for nearly twenty years. Although there is no definite record, the author is confident that it is probably the highest number in Taiwan music scene, given that LTK Commune is the only rock band in Taiwan that enjoys freedom of speech and action. The author believes that the band has a certain responsibility and obligation to clarify the act of smashing guitars from the perspective of the actual thinkers and executors of the act. This article first defines the behavioral norms and scope of smashing guitars and describes famous instruments destruction events in rock music scenes of Europe and America, as well as LTK Commune's action records. It analyzes the various explanations of smashing guitars that currently exist as the basis for established discourse, and from the perspective of actual practitioners, explains why statements from non-musicians are meaningless and just scratching at the surface. It also explores the possible decline and resurgence of the act of smashing guitars from the perspective of music makers and performers.