臺灣當代劇場內捲景觀的後殖民根源與批判芻議

The Involution of Contemporary Taiwan Theater: A Postcolonial Critique

近十年間，臺灣當代劇場在承襲傳統戲劇與前衛藝術的基礎上，歷經跨界展演、數位技術及全球疫情的衝擊，在文本構作及執行調度皆出現高度繁複化的發展趨勢，包括行銷、購票、觀賞、互動協作及後續議程等劇場運作往往成為參與者的核心追索目標。本文首先以此現象回應雷曼的「後戲劇劇場」論述，指出臺灣當代劇場的運作過程作為文本的另一種存有形式不僅形構新的追索範式，更映照出不同於西方脈絡的在地戲劇生產地緣政略與美學戰術。由此，本文回溯內捲概念系譜，提出其作為一種從己身脈絡滋長與湧現的文化結構批判性，從中檢視臺灣當代劇場所頻繁出現的解謎遊戲、地景漫遊、參與協作、軟體互動、網路支援、跨域合作及沉浸式劇場等複合組配的美學倡議、執行策略與實際效果。藉由近年相關製作的實地觀察、文本分析與田野訪談，本文指出，當代劇場內捲景觀不僅反映劇場內外政治與美學的動態部署，更體現在地藝文產業對於外來資源湧入狀態的一種後殖民編排與應對：透過參與者對於劇場運作勞心勞力的趨近追索，達致共享的情感修復實踐。

In the recent decade, contemporary Taiwan theater, inheriting traditional xiqu and engaging in avant-garde experiments, has undergone multiple influences from digital advancements, transdisciplinary trends, and the pandemic crisis, developing into a hyper-complicated genre of performative practice. In this genre, theatrical operations, including marketing and purchasing, performing mise-en-scène and methodologies, as well as any follow-up activities, become the central focus for all theater participators. Responding to Hans-Thies Lehmann’s notion of postdramatisches theater, this essay indicates that the theatrical operations of contemporary Taiwan theater, viewed as another form of text beyond dramatic narrative, have formed into a novel paradigm of collective pursuit. This paradigm embodies geopolitical and aesthetic tactics, working within and against the Western theater context. In this light, this essay proposes a critique of involution that highlights the postcolonial survival emerging ento-ectad, investigating the hybrid uses of puzzle games, site-specific tours, participatory activities, digital gadgets, Internet support, and immersive staging frequently observed in contemporary Taiwan theater. With an analysis on the manifestos, the tools, and the actual effects of representative productions in the genre, this essay argues that the involution of contemporary Taiwan theater not only reflects the dynamic apparatus of politics and aesthetics on the island but also allegorizes a postcolonial choreography of resource influx. The heterogeneous labor of participants in pursuing theatrical operations significantly points to a shared scenario of affect repair.