曳影殘響中的喧囂諸眾──臺東杉原灣美麗灣渡假村飯店建物中的《理想生活》

Recalling the Howling Multitude through Afterimages and Reverberations: Yet To Be in the Unfinished Miramar Resort Shanyuan Bay, Taitung

2022年臺東藝穗節開放經歷多年爭議的杉原灣美麗灣渡假村飯店建物作為演出場地之一，再拒劇團獲得徵選在現地演出《理想生活》。再拒劇團多年來試圖擺脫科層化的組織運作所催生出的另類共創模式，形塑了《理想生活》演出中空間、物件、聲景、聆聽行走及表演者行動等媒介運用的型態與特質，以調度觀眾觀演意識為核心來安排觀眾的移動與各種媒介之間的切換與交疊運用。而觀眾面對這樣的多種媒介素材感知，需更自主地參與組裝演出的意涵，透過非常視角，形構具批判意識的主體。
在臺東縣政府規劃招標轉型經營美麗灣渡假村飯店建物的時間點，企圖藉由藝穗節施行活化場所的文化治理術之際，再拒劇團透過《理想生活》的演出參與藝穗節之中，卻又刻意溢出其文化治理邏輯之外。相對於過往藝術行動直接參與反美麗灣運動，《理想生活》所能開展出的劇場公共領域是相對有限的，但演出更訴諸觀眾個別的省思，拉出另一層縱深，透過表演將建物幻化為意象交織的所在，讓觀眾重訪這件巨大象徵物所表徵的交鋒與爭議，反思建物背後的開發思維與人們以支配物質為基礎的慾望。
置入臺灣特定場域表演的脈絡來檢視，《理想生活》不僅跳脫臺灣非典型劇場空間表演習以為常的景觀考古與懷舊氛圍的空間展演，其以現地空間構築表演文本主體的創作型態，不再讓演出場域淪為場面背景，提示了特定場域表演另一種可能的創作取徑。

In 2022, the Taitung Fringe Festival included the controversial unfinished Miramar Resort building at Shanyuan Bay (Fudafudak) as one of its performance venues. The Against Again Troupe was selected to produce Yet To Be at the site. The troupe’s long-term efforts to challenge the rigidity of the hierarchical power structure within the production team catalyzed a collaborative process based on equal terms in creating Yet To Be. This process contributed to shaping a montage of multilayered, autonomous media, such as space, objects, soundscapes, audio walks, and performer’s actions. The arrangement of these media, along with the movement of the audience within the performance, was designed to maneuver the audience’s awareness. Confronted with these diverse media, the audience was encouraged to develop critical consciousness through the unique perspectives presented in the performance, actively constructing the meaning of the performance for themselves.
At the time when the Taitung County Government was planning to reopen the unfinished Miramar Resort building and attempting to regenerate it through the Taitung Fringe Festival’s site-specific performance program, the Against Again Troupe produced Yet To Be as part of the program, with the intention of deliberately deviating from the cultural governance of the Festival. In contrast to the earlier social movement that protested the construction of the Miramar Resort, Yet To Be could only shape a limited public sphere surrounding the issues related to the building. Nevertheless, the performance transformed the building into a space where various images intertwined, allowing the audience to revisit, on an individual basis, the confrontations and controversies symbolized by this imposing relic. The performance provoked reflections on the developmental mindset embodied by the building, as well as on the desires of people driven by the dominance of materialism.
Yet To Be was structured in a way that positioned space as the core of the performance, rather than merely as a backdrop. It departed from the local historical and nostalgic narratives typically found in site-specific performances in Taiwan, offering a distinctive approach to productions in this genre.