2023人權藝術生活節
The 2023 Human Rights Festival
小說展演《空白記憶》
Performance Art｜The Blank Memory
演出資訊Information
演出時間 Time. │ 12/3, Sat. 14:30、16:30
演出地點 Venue │ 仁愛樓2樓 新式押房區 Detention Unit of Ren-Ai Building 2F
演出團隊 Performer│ 狂想劇場Fantasy Theatre
節目介紹
《讓過去成為此刻：臺灣白色恐怖小說選》序文：「凝視著歷史災難的現場，以倒退的姿勢，向未來邁進」。狂想創作者林子寧、陳思潔、梁俊文，從文學作品中提煉，帶領觀眾走入監獄場域，鐵窗之中，行走觀看，歷史就在我們身體裡，從未過去。
Creator-director-actors LIN Zi-Ning, CHEN Szu-Chief and LIANG Chun-Wen present this performance art inspired by the literary works of the White Terror victims. The audience are led into the setting of a prison, walking and watching, following along the performers. Where history is etched in our bodies and never to be forgotten.
《孤症》｜ 梁俊文 Memory Sick ∣LIANG Chun-Wen
啟發自馮馮晚年出版的自傳小說《霧航》。作家的袒露寫真，直面個人的性／情感啟蒙與國家暴力之間的親密關係。其寫作的主觀精神世界的幻想、創造、衝突、抒情、懺悔，以及同性愛欲歷程，刻劃出一種情感主體的特殊認識方式，然而，在認識的路上，總有幸福的想望、愛的失落、恨的艱難、遺忘的渴望。本作以詩的身體誦演，思索空白的態度。以詩的自我儀式，喚回愛欲的前景。文本創作方面，凝視無法舉證的生命記憶，嘗試創造一種悼念與情感的位置。
Inspired by Feng Feng's late-autobiographical novel "Voyage in the Mist",this writer's candid self-portrait confronts the intimate relationship between personal sexual/emotional awakening and state violence.
The subjective world of the writer's writing is filled with fantasies, creations, conflicts, lyricism, and confessions. It traces a unique understanding of emotional subjectivity, as well as the writer's journey through same-sex desire. However, on the path of understanding, there are always hopes of happiness, losses of love, difficulties of hatred, and desires for forgetting.
This work is expressed through the body of poetry, contemplating the attitude of emptiness. Through the poetic self-ritual, it explores the prospects of desire. In terms of textual creation, it reflects upon the unverifiable memories of life, attempting to create a space for reflection and emotion.
《白紙上的恐懼》｜ 林子寧 The Fear On White Paper∣LIN Tzu-Ning
以「靈魂與灰燼《流血的身體、寂寞的枯骨—側寫「白色恐怖」下雲林地區的兩位女性》」描述的政治受難者—高草為發想，呈現威權如何擠壓與扭曲，造成一個人的變形。高草在被特務逮捕時，適逢經期，而特務不讓她處理，且嫌棄她髒污。其後，在獄中逐漸承受不了恐懼的壓力而精神崩潰，曾多次咬破手指用血寫下自白書給蔣介石，有一次甚至是用經血。本作結合即時投影等科技手法，以當代意象詮釋歷史暴力。
Inspired by the story of the political prisoner Gao Cao, who is featured in "Soul and Ashes: Portraits of Two Women in the Yunlin Region During the 'White Terror,"this work illustrates how authoritarianism can tightly grip and distort an individual, prompting them to undergo a profound transformation.
When Gao Cao was apprehended by secret agents, it happened to be during her menstrual cycle. Shockingly, these agents denied her the opportunity to address her personal hygiene, branding her as impure. Consequently, she gradually succumbed to the overwhelming fear within the prison walls, leading to a severe mental breakdown. In her desperation, she resorted to self-harm, biting her fingers and composing multiple confessions in her own blood, some of which were addressed to Chiang Kai-shek, even using her menstrual blood on one occasion.
This production utilizes contemporary imagery and technology, including live projection, to interpret historical violence through the lens of modern symbols
《話語》｜陳思潔 Without Word∣CHEN Szu Chieh
啟發自黃崇凱《狄克生片語》（收錄於讓過去成為此刻：白色恐怖小說選卷二），小說中提到話語的內層與外層，對別人說的話語，可能藏著只有自己能理解的部分，以及可言語不可言語的情感，或語言的隱匿與揭露。本作透過在押房及園區遊走，探尋隱藏或遺失的物件和紙張，以非語言的話語／歌，時而和空氣／和自己／和觀者來對話，表達無以名狀的情感：「如果人和語言退回到原初狀態，若語言還沒有任何意義，語言還不存在， 事物還沒有名字，歷史正要開始。」
Inspired by Huang Chongkai's "Dickson Phraseology" (featured in "Let the Past Become the Present: White Terror Fiction Selection Volume Two"), the novel delves into the layers of discourse, both inner and outer. Words spoken to others may conceal aspects that only one can fathom, along with emotions that are both expressible and inexpressible, and the interplay of language's concealment and revelation. This work meanders through detention cells and compounds, exploring concealed or forgotten objects and documents. It also employs non-verbal communication and songs, at times engaging in conversations with the air, introspection, or the audience, conveying elusive emotions. It contemplates the idea: "If people and language were to return to their primal state, where language held no meaning, where it didn't exist, and things had no names, then history is on the brink of commencement."
人權議題之關聯
這個作品的起頭來自一個用「倒退著走向未來」的劇團內部小型田野創作計劃開始。取自作家胡淑雯、童偉格所編輯的白色恐怖小說選極具啟發的序文：「凝視著歷史災難的廢墟，以倒退的姿勢，向未來邁進」。
2011年，廖俊凱以澎湖 713 事件的劇作《逆旅》，開始白色恐怖題材的創作起點，幾經周折，2018 創作了《島上的最後晚餐》，關注女性受難者綠島女生分隊，2019 邀兩位 1970年代的政治犯前輩陳欽生、楊碧川上台演出紀錄劇場《非常上訴》。
回顧這十餘年，從文學、口述歷史到紀錄劇場，廖俊凱所形成的白色恐怖三部曲，這一切的開始，本無心插聊，先從文學出發（逆旅為文學作品改編），再從女性觀點（過去較少提及女性政治犯），最後進入真人故事採集及素人上台。創作的跨度不受侷限，也愈加深入開展。
劇團有感，希望培植更多青年創作夥伴接力創作，並藉由深度講座、作家讀書會、不義遺址踏查等形式梳理白色恐怖時期相關素材，撿拾內省，作為創作的基底養分。於是邀請狂想劇場長期創作夥伴林子寧、梁俊文、陳思潔等，開啟空白記憶創作計畫，並於2020獲得北藝中心創意節目前期展演計畫支持。2022受邀於人權藝術生活節演出。
The genesis of this work traces back to a small-scale internal fieldwork project within the theater group, initiated with the concept of "moving backward toward the future." It drew inspiration from the compelling prologue in the White Terror fiction anthology edited by writers Hu Shuwen and Tong Weige, which reads: "Gazing upon the ruins of historical disasters, we step forward into the future with a backward glance."
In 2011, Liao Junkai embarked on the creation of White Terror-themed works with " A Journey to return", a play about the Penghu 713 Incident. After several iterations, in 2018, " The Last Supper in the Burning Island " was created, focusing on the Green Island Girls' Team, female victims of persecution. In 2019, he invited two political prisoner veterans from the 1970s, Chen Qinsheng and Yang Bichuan, to perform in the documentary theater piece "Extraordinary Appeal."
Reflecting on these past ten years, Liao Junkai's White Terror Trilogy, spanning from literature and oral history to documentary theater, began somewhat serendipitously. It started with literature (as " A Journey to return '' was adapted from a literary work), shifted to a female perspective (addressing the lesser-discussed topic of female political prisoners), and ultimately delved into collecting real-life stories and involving amateur actors. The creative scope remains unbounded and continues to deepen.
Recognizing the need to cultivate more young creative partners, the theater group initiated the "Blank Memory" creative project. They aim to relay the creative torch and, through various forms such as in-depth lectures, author book clubs, and investigations of historical injustice sites, gather materials related to the White Terror era, fostering introspection as the foundation for their work. As a result, they invited long-term creative partners of Fantasy Theatre, including Lin Tzu-Ning, Liang Chun-Wen, and Chen Szu Chieh, to embark on the "Blank Memory" project, which received support from the National Taiwan University of Arts Creative Festival in 2020. In 2022, they were invited to perform at the Human Rights Arts Festival.
團隊介紹Performer Introduction
狂想劇場
「創作是醒著作夢！」
劇場作為夢延伸具像化的織體，以各種偽裝的狂想，滿足著願望，於是人們維持不眠在劇場裡作夢，不願沉睡。「狂想劇場」以導演廖俊凱、製作人曾瑞蘭為核心，集結了編劇、設計及製作行銷等人才，以「狂想」為名，提供青年人創作發表的空間，並與社會連結，辯證與反思生活，凝聚臺灣劇場界的中堅創作力量。
2006年成立，2009年登記立案，2011年《賊變》曾入圍第十屆台新藝術獎「十大表演藝術」，劇團成立至今劇作可分為四個系列「當代新劇本」、「跨界實驗」、「文學觸發」、「紀錄劇場」等。其中，以白色恐怖議題為創作的作品：2011年《逆旅》(兩廳院新點子劇展)，觸發自文學作品逆旅，背景為澎湖713事件山東流亡學生；2018《島上的最後晚餐》，觸發自「流麻溝十五號：綠島女生分隊及其他」一書。
2019《非常上訴》受邀桃園鐵玫瑰藝術節，邀兩位七旬政治犯前輩陳欽生、楊碧川上臺演出，並於2022受邀秋天藝術節於國家戲劇院演出；2020《空白記憶》，觸發自白色恐佈文學，為北藝中心創意節目前期展演計畫支持，2022曾受邀於人權藝術生活節演出。
Theaters, as tangible extensions of dreams, weave together a myriad of concealed fantasies to fulfill our desires.
Audience members stay awake in the theater to indulge in their dreams, unwilling to succumb to slumber.. "Fantasy Theatre," with director Liao Junkai and producer Tseng Juilan at its core, gathers talents in writing, design, production, and marketing. Carrying the name 'fantasy,' it offers a platform for young creators to present their work while actively engaging with society and contemplating life.. It has become a cornerstone of creative force in the Taiwanese theater community.
Founded in 2006 and formally registered in 2009, Fantasy Theatre's playwriting can be categorized into four series: "Contemporary New Scripts," "Cross-disciplinary Experimentation," "Literary Inspiration," and "Documentary Theater." Among them, works centered on the White Terror era include " A Journey to return" in 2011 (Nominated for the 10th Taipei New Arts Award), inspired by the literary work " A Journey to return" and set against the backdrop of the Penghu 713 Incident and the Shandong exiled students.
In 2018, " The Last Supper in the Burning Island" inspired by the book "Green Island Girls' Team and Others" about Lao Ma Gou No. 15, was created.
In 2019, "Extraordinary Appeal" was invited to the Taoyuan Iron Rose Festival and featured performances by two septuagenarian political prisoners, Chen Qinsheng and Yang Bichuan. In 2022, it was invited to perform at the Autumn Arts Festival at the National Theater. In 2020, "Blank Memory," inspired by White Terror literature, was part of the pre-program exhibition at the National Taiwan University of Arts Creative Festival, and in 2022, it was invited to perform at the Human Rights Arts Festival.
其他說明Note
- 節目長度：約75~80分鐘
Program length: about 75~80 minutes - 建議觀賞年齡：建議 12 歲以上
Recommended Age: 12 years old and above - 使用語言：中文或無語言
Language: Chinese or no language - 本節目演出場地於二樓(無電梯)，須移動，站立或坐在地面觀賞。
The performance venue is on the second floor and there is no elevator. Audience members will be asked to move, stand or sit on the floor.