想像異國他者──唐十郎的「南進」題材劇作

Imaging the Foreign“Other”: Kara Juro’s“Southward Advancement”Plays

集編導演於一身的唐十郎，在七○年代帶領的「狀況劇場」，曾是第一世代小劇場中最負盛名的前衛劇團。但在歷經劇團解散重組後，九○年代他帶領劇團「唐組」持續上演帳篷劇，面對全新降臨的消費社會，人氣不復從前，並產生一段困難的摸索時期。本文將從橫跨兩個創作時期唐持續處理的「南進」題材著手，比較不同階段下類似作品在劇構術和寫作策略的異同，包括：狀況劇場的《孟加拉虎》（1973）、《導盲犬》（1973）、《玻璃的少尉》（1974），以及唐組的《檳榔的封印》（1992）、《桃太郎之母》（1993）。藉由分析這五部劇作，並追溯當時日本社會的變化，包括七○年代的東南亞投資潮、八○至九○年代日本政府的文化政策、九○年代日本民間的臺灣熱，本論文希望探討唐在創作上的轉變，重新審視他常受忽略的九○年代臺灣系列作，並釐清他如何使用在其後深刻影響了八○世代劇作家們的著名「多層的劇構造」。

The Japanese director, actor, and playwright Kara Juro led Jokyo Gekijo (Situation Theatre), a well-known avant-garde theatre troupe in the 1970s. In the 1990s, Kara rebuilt his troupe as Kara Gumi (Kara Troupe) and continued performing plays in his famous“red tent”with the same skill. However, consumer society was totally new to Kara and his troupe; thus, they had a difficult transition and lost most of their audience. This paper compares Kara’s strategy and dramaturgy in his two writing periods by analyzing five plays on the same theme of“southward advancement”, namely, Bengaru no Tora (1973), Moudouken (1973), and Garasu no Syoui (1974) in the Jokyo Gekijo period and Binrou no Fuin (1992) and Momotaro no Haha (1993) in the Kara Gumi period. This paper traces the social background, such as Japanese investment in Southeast Asia in the 1970s, Japanese culture policy in the 1980s and 1990s, and the“Taiwan boom”of the 1990s. Comparing Kara’s plays with their social context, this paper traces changes in Kara’s strategy in his two periods and rereads his two neglected Taiwanese plays for Kara Gumi; it will also clarify his use of the famous“multi-layered structure”dramaturgy which had an immense influence on the playwrights in the 1980s.