目錄／
封面／Book Cover 目錄／Content 總編輯的話／From the Editor in Chief 導言／Introduction 《塵埃》創作者自序 《塵埃》劇本 附錄1 影音精選／Video Clips 附錄2 劇作家徐堰鈴簡介 附錄3 莎士比亞的妹妹們劇團簡介 附錄4 首演資 台灣現代戲劇 表演影音資料庫簡介／An Introduction to Electronic Theater Intermix in Taiwan 12. 版權／Copyright 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.
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總編輯的話
《表演臺灣彙編：劇本，設計，技術，1943~》Performing
Taiwan:
Script, Design, Stagecraft, 1943– 是一套以「台灣現代戲劇曁表演影音資 料庫」（eti-tw.com）典藏爲基礎的電子叢書，由中央大學黑盒子表演 藝術中心和戲劇曁表演研究室協力完成，文化部補助出版。為了在電 子閱讀的新時代，更全面地捕捉劇場
個古老表演媒介的立體風姿，
套叢書透過新的編輯概念與發行平台，不 調影音資
收納了文字書寫，更強
的同步閱讀，在每本電子書裡都收入一定比例的影音片段
或圖像劇照。 2010年，我國的《文化創意產業發展法》在「刪減藝術補助」與「創 意產業升級」和「經濟加
」的經濟語境中登臺亮相。臺灣的表演藝
術從業者熱情無限，看似活力迸發的文化一隅，但專業化尚未完成， 距離產業化仍待努力。可是在文創的全球語境中，我們又似乎很難置 身其外。
部叢書的出版，無非是希望在探索臺灣表演藝術邁向專業
化甚至產業化的過程中，累積一些發展的資產，嘗試開發劇場以外的 智慧財產創意再生產。
跨界創意下的分館別類 《表演臺灣彙編》包含「戲劇劇本館」、「戲曲劇本館」、「表演書 塵埃
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寫館」、「設計館」與「技術館」五個主題，分別從表演文本、設 計、技術三個面向，展現表演藝術在臺灣七十餘年的創作軌跡，彌補 過去乏於書寫紀錄與發行不足的遺憾。不論是戲劇、戲曲、偶戲、音 樂劇、肢體劇場或舞蹈等各類表演藝術作品，都可藉由
一叢書的出
版而打開一扇閱讀、賞析的窗口。 「戲劇劇本館」、「戲曲劇本館」和「表演書寫館」歸屬於表演文本 面向，
三個館別用以架構臺灣近七十年的表演文本內容。臺灣的創
作者們以勇於突破既有框架見長，經常融合多種不同表現元素來創造 獨特的作品，
樣的分類方式其實難以收納臺灣表演藝術創作者自由
多元又紛異的創作形式。為了展現
個特色，我們遂決意放棄傳統的
編輯概念，不由編輯臺對作品逕行分類，而是讓創作者依據其作品的 原始發想，自行決定作品歸屬的館別。如此，讀者可能會在「戲曲劇 本館」裡，讀到採用戲曲元素卻又更像現代戲劇的作品，或是在「戲 劇劇本館」裡發現反其道而行的其他跨界創作。又因為戲劇或戲曲也 還不足以歸納其他既不採取文本書寫、甚至沒有任何對白的表演文 本，我們便又規劃了「表演書寫館」，邀請創作者（如導演或編舞） 根據已經完成的舞臺實踐，進行專題書寫以典藏過去難以被流傳的精 彩表演。 2013年，我們首先出版了《林摶秋劇作選：醫德、高砂館》、《少年 金釵男孟母》、《踏青去》、《逆旅》四部戲劇劇本，以及《亂紅》
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與《三顆頭》兩部戲曲劇本。其中林摶秋先生劇作是現存最早的臺灣 劇作之一，我們非常榮幸能取得日文原著與中文翻譯的授權出版。 《亂紅》來自臺灣特有的實驗戲曲作品，首演極受好評，《逆旅》爲 2011年臺灣文學獎金典獎得獎作品，他們具體而微說明臺灣青年創作 的實力。《逆旅》和《三顆頭》是我們參與製作的兩部劇作；前者由 我們媒合導演與專業製作團隊，後者是我們一路陪伴著從創團到製作 演出，同為我們珍惜的青年劇作。《少年金釵男孟母》和《踏青去》 爲臺灣劇作家的性別演繹和想像，留下創意足跡，前者近年頗獲國內 外學界討論，後者則是臺灣演繹女性情誼的最早作品之一。各製作團 體慷慨授權，讓我們得以與讀者們分享 錄；因為他們，
套書特別
些劇作珍貴的演出影音紀
得典藏閱讀。
2014年上半年，我們又出版了劇本《大神魃》、《塵埃》、《無獨有 偶經典偶劇選：降靈會、最美的時刻》以及《江佶洋燈光創作作品 集》。三部劇作風格迥異，《大神魃》藉由動畫、舞臺和音樂
道
來神怪的孤寂，《塵埃》演繹科技深入人類的歷程，《無獨有偶經典 偶劇選：降靈會、最美的時刻》集合無獨有偶劇團精彩的現代偶劇， 他們呈現了臺灣劇場裡自由多元的風景。 除了表演文本的書寫之外，我們另外規劃了「設計館」與「技術 館」。臺灣表演藝術近三十年累積了一批專業的設計者與劇場技術工 作者，他們的創意，同樣是形構臺灣劇場生命力的要素。然而，他們
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也是觀
最不熟悉的一群劇場工作者。為了提升
兩個部門工作者的
創意智慧再運用，也為了加強表演藝術專業知識的流通，「設計館」 與「技術館」邀請國內資深或具有獨特技術的設計者與技術工作者， 根據其長期的專業經驗，
述深入淺出的專題電子書，爲臺灣表演藝
術的發展足跡留下完整的紀錄。爲了完成
個繁重的任務，從2014年
起由我和李易修共同擔任「設計館」與「技術館」的主編，從主題選 擇、文字編輯、到圖像製作或影音採集，合力編
。
2014年我們首開先例地出版了《江佶洋燈光創作作品集》以及《劇場 黑衣人》。
是一個萬分艱難的工作，因為大部分的劇場設計和技術
工作者不曾留下工作紀錄，加上他們繁重密集的工作行程， 字
述
一項，便是一大挑戰。再者，他們的作品散於
團體，影音資料或圖像劇照的版權取得，
是文
多表演藝術
是極為繁雜困難的。謹此
向資深的劇場技術工作者斯建華先生，和青年燈光設計者江佶洋致 謝，他們的支持與配合除了讓我們的的野心得以落實，也讓我們勇於 繼續鼓舞更多優秀資深的同仁們，從翼幕側寫臺灣現當代劇場的風華 與艱辛。
公開展演與影音紀錄之選錄雙軌 《表演臺灣彙編：劇本，設計，技術，1943~ 》最重要的選錄標準是： 被選錄者必須是已經公開演出過的作品。以臺灣的表演藝術生態而 言，一個作品能
塵埃
搬上舞臺，必然已經取得一定的社會資源，
些資
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源的取得，可以視為是對該作品與其創作者和製作團隊的肯定與選 擇。 除了少數幾部無法取得任何演出影音紀錄的早期經典之作，我們另以 是否能取得作品演出影音片段的授權，爲收入本叢書的另一考量標 準。影音與書寫既然是
部雲端叢書的關
字，我們期待
樣的編輯
概念，能較為據實地反應臺灣舞臺的繽紛風景，更能啓動劇場的綜效 機制。 在以上兩項標準之外，我們儘量兼顧資深與年輕工作者的新創與經典 作品，希望獲得更多表演藝術工作者的認同，提醒他們在製作演出之 餘，留意表演藝術作品如何以其他形式再生產，爲日後的產業化奠定 紮實基礎。
致謝與致敬 在編輯過程中，我必須感謝所有創作者、製作團體、「國家表演藝術 中心之國家兩廳院」（原國立中正文化中心）與「財團法人公共電視 文化事業基金會」的支持與授權；感謝王
玲教授、林鶴宜教授、石
婉舜教授、施如芳女士、劉微明女士、藍貝芝女士為首批出版的六部 劇作
寫導言，提供專業而繞富趣味的閱讀切入角度；感謝擔任2014
年執筆導言的劇作家陳世杰先生、郭亮廷先生、林世秉先生、胡疊教 授、資深的劇場工作者王孟超先生、傅裕惠老師、沈敏惠女士，從長 期共事的角度，或持續關注的劇評位置，為我們提供有關作者或作品 塵埃
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的閱讀佐證。感謝提供我們法律諮詢，甚至爲我們規劃表演藝術智財 權法律工作坊的陳思宏律師、湯其瑋律師與李友琦女士；臺灣的表演 藝術如果想要進行產業升級，如何在創意內容共享與智財權的界定之 間找到平衡，是我們共同的課題。特別感謝石婉舜教授在出版林摶秋 先生劇作的過程中不憚煩勞，與編輯群往復討論，並提供各式編輯相 關資
，以及李育娟教授擔任我們的日文翻譯諮詢；感謝優秀的英文
翻譯團隊許仁豪博士、劉微明女士、司徒嘉怡博士、 吳政
先生、陳
怡君女士、林佳璇女士、陳佾均女士、白斐嵐女士、Frank
Episale先
生，以及2014年特別邀約的Albane Lahlou和我在中央大學的同事許凌 凌教授擔任法文翻譯。沒有他們的心力投注，我們幾乎不可能在急迫 的執行期限內，完成主要外文譯文，爲日後的國際發行奠定基礎。
《表演臺灣彙編》叢書總編輯，2014年08月
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Performing Taiwan: Script, Design, Stagecraft, 1943– is an e-book series based on works archived by the Electronic Theater Intermix in Taiwan (eti-tw.com). Funded by Ministry of Culture, this project is a collaboration between the Performance Center and the Research Center for Theatre & Performance Studies at National Central University. In this era of e-books, we hope to engage a new editorial concept and platform of distribution intended to fully capture the three-dimensional splendor of the age-old medium of stage performance. That is, while providing the reader with written text, we also emphasize a side-by-side presentation of audiovisual information, incorporating a significant number of recorded performance segments and images. In 2010, in an economic atmosphere in which arts subsidy cuts were offset by talks of creative industry upgrades and a value-added economy, the Law for the Development of the Cultural and Creative Industries began to take effect in Taiwan. While the Taiwanese
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performing arts community responded with seemingly re-energized fervor, it is evident that performing arts in Taiwan barely makes a small enterprise; professionalization in the performing arts scene is also still in progress, and so it is unrealistic to expect industrialization in the near future. At the same time, Taiwan cannot afford to be absent from the global discussion of cultural and creative industry development. The aim of this collection, then, is to explore the possibility
of
creative
intellectual
property
re-production
of
performing artworks outside the stage, and to accumulate some building blocks and resources for further development in the performing arts community’s journey toward professionalization and eventual industrialization in Taiwan.
Performing Taiwan includes five series of publication: the Drama Script Series, the Xiqu (Chinese Opera) Script Series, the Performance Text Series, the Design Series, and the Stagecraft Series. With these five series, we hope to fill in some blanks in the insufficient and poorly distributed written records of the past, and to present the overall creative trajectory of the performing arts in Taiwan over the last seventy-odd years, from three angles: performance text, design, and stagecraft. With the publication of this collection, we hope to 塵埃
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open up a window of reading and appreciation for all modes of performing arts, from theatre to operatic Xiqu, puppetry to musical theatre, physical theatre to dance. The Drama Script Series, the Xiqu Script Series, and the Performance Text Series are text-based categories used to present different aspects of the content of Taiwan’s performing arts during the last seventy years. However, such categories are insufficient for reflecting the diverse creative modes of performing artists in Taiwan, who are known for breaking boundaries, often merging elements from different genres and disciplines to create unique works. To highlight this characteristic, we decided to discard the traditional editorial division of labor and allow the creators to designate the categorization of their own works. Therefore, it is possible for the reader to come upon plays that make use of traditional Xiqu elements but read more like modern theatre in the Xiqu Script Series, or to discover boundary-crossing works in the Drama Script Series. Also, in service of performance texts that fall outside the realms of drama and Xiqu—works that may not be contingent upon written text or speech—we planned the Performance Text Series. In this series, we invite creators (such as directors or choreographers) to write about the staging and realization of their works in order to archive and 塵埃
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record quality performances that the reader would otherwise be unable to access. In 2013, we first published four drama scripts: Selected Plays of Tuanchiu Lin: Takasago Hotel and The Good Doctor; He Is My Wife, He Is My Mother; Skin Touching; Self Re-Quests. Following the above were two Xiqu scripts: Peach Blossom Rain and Three Heads. We were very honored to obtain publication rights for the original Japanese scripts as well as the translated Chinese scripts of Mr. Tuan-chiu Lin, which are the oldest existing Taiwanese drama scripts. Peach Blossom Rain, particularly Taiwanese in its style, is an experimental Xiqu production that was highly appreciated during its initial run. Self ReQuests received the 2011 Taiwan Literary Award for Best Play. Together, these two plays are a small but concrete testament to the strength of Taiwan’s young creative talents. The Performance Center at NCU was also involved in the production of two works by young talents. For Self Re-Quests, we acted as matchmaker, bringing the director and the production team together; for Three Heads, we accompanied playwright Pen-ning Hsing through the full process, from founding her theatre company to a full production of the play. He Is My Wife, He Is My Mother has received much academic attention at home and abroad and Skin Touching was one of the earliest works 塵埃
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about lesbian relationships in Taiwan; both wield creative impact on the presentation and expression of gender for Taiwanese playwrights. With generous authorization from many performing arts groups, we were granted the opportunity to share precious segments of recorded performances; these groups made this collection especially worth reading. During the first half of 2014, we published The Drought Goddess, The Dust, Selected Plays from Puppet & Its Double Theatre: La Réminiscence d’un fantôme and Der Schönste Moment and The Light Passing the Time. The three dramatic texts are drastically different: The Drought Goddess expresses the loneliness of gods and spirits through the combination of animation, stage design and music; The Dust explores the progress of technological saturation in the human world; Selected Plays from Puppet & Its Double Theatre: La Réminiscence d’un fantôme and Der Schönste Moment is a collection of splendid modern puppet plays performed by Puppet & Its Double. Together, all these works represent the aesthetic freedom and diversity of Taiwanese theatre. In addition to written records of performance texts, the Design Series and the Stagecraft Series are also in the works. Over the past thirty years or so, the performing arts community in Taiwan has cultivated
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a great army of professional designers and technical theatre specialists. Their creative endeavors are just as much a part of the lifeblood of the Taiwanese stage as other artists, and yet they are the performing arts workers least familiar to the general public. In order to facilitate the reutilization of the creative solutions and experiences of these two contingents, and to foster the distribution of professional knowledge in performing arts, we invite experienced designers and technical theatre workers specializing in unique stagecraft to compose on-topic, accessible e-books so as to complete the records of the development of performing arts in Taiwan. Starting from 2014, Mr. Yi-hsiu Lee and myself share the position of Chief Editor for the Design Series and Stagecraft Series, working together from theme selection and text editing to graphic creation and audiovisual acquisition in order to accomplish this arduous task. We are creating a precedent in 2014 by publishing The Light Passing the Time and Theatre Crew. The fact that most professional theatre designers and technical specialists do not keep written records, coupled with their heavy workload and concentrated schedules, makes composing textual descriptions of their work a great challenge. Moreover, the audiovisual records of their projects often become properties of the various performing arts groups they collaborate 塵埃
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with, making reproduction rights extremely difficult to acquire. We hereby express our thanks to veteran theatre technical specialist Mr. Chien-hua Szu and up-and-coming lighting designer Mr. Chi-yang Chiang. Their boundless support fulfilled our ambition, but more importantly, it encouraged more outstanding and experienced theatre workers to record, from the wings, the splendidness and hardships of Taiwan’s contemporary theatre.
The most basic selection criterion for the works of Performing Taiwan: Script, Design, Stagecraft, 1943– is that each work must have been publicly staged prior to publication. In the Taiwanese performing arts scene, a play must first garner certain social resources in order to receive a ticketed, public production. The acquisition of such resources can be seen as endorsement of and appreciation for the work, its creative and production teams. With the exception of a few works of classics for which no such records are available, our ability to obtain authorization for the use of audiovisual documentation of a work in performance is a deciding factor for the work’s inclusion in the collection. Since audiovisual content and written text are the two key elements of this online 塵埃
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collection, we hope that, by adhering to this editorial principle, we may more accurately reflect the diverse flavors of the Taiwanese stage and trigger a synergistic mechanism in Taiwan’s performing arts. Aside from the above principles, we strive to maintain a balance between new works by up-and-coming artists and classics by veterans of the stage while building the collection. Hopefully, this will court recognition from more performing arts workers and remind them to take note of alternative approaches to reproducing works of the performing arts in order to build a solid foundation for future creative industries.
As we move forward in the editorial process, we must thank all of the artists, the production companies, the National Performing Arts Center National Theater & Concert Hall (originally named National Chiang Kai-shek Cultural Center) and the Public Television Service Foundation for their support and endorsement. We would also like to thank Dr. Ay-ling Wang, Dr. Ho-yi Lin, Dr. Wan-shun Shih, Ms. Jufang Shih, Ms. Wei-ming Liu and Ms. Betsy Lan for penning introductions to the first six works of the collection, offering
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informative and inspiring entry points for the reader. We thank playwright Mr. Shi-jie Chen, Mr. Liang-ting Guo, Mr. Shi-bing Lin, Dr. Die Hu, veteran theatre maker Mr. Meng-chao Wang, Prof. Yuhui Fu and Ms. Min-hui Shen for penning the introductions for this year’s offerings. We thank them for providing us with textual accompaniments about the authors or their works, from the perspectives of long-time collaborators and continued critical engagement. We also thank Mr. Simon Chen, attorney-at-law, Mr. Chi-wei Tang, attorney-at-law and Ms. Yo-chi Li for valuable legal advice and for planning the Performing Arts Intellectual Property Rights Workshop with us; in order to upgrade the Taiwan performing arts industry, finding the medium between sharing creativity and defining intellectual property rights must be everyone’s next order of business. Many thanks again to Dr. Wanshun Shih for tireless discussion with the editorial team regarding the publishing of playwright Tuan-chiu Lin’s work, as well as for offering editorial advice and relevant information. Thanks also to our Japanese translation consultant Dr. Yu-jiuan Li, and devoted English translators, Dr. Jen-Hao Walter Hsu, Ms. Wei-ming Liu, Dr. Chiayi Seetoo, Mr. Cheng-han Wu, Ms. Betty Yi-chun Chen, Ms. Siraya Pai, Ms. Chia-hsuan Lin, Ms. Yi-chun Chen and Mr. Frank Episale. We also thank our guest translator Ms. Albane Lahlou and my colleague 塵埃
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at National Central University, Dr. Ling-ling Hsu, for the French translations. Without the hard work of everyone mentioned, it would have been nearly impossible for us to produce the foreign language translations that would serve as the basis for future international distribution within such a limited timeframe.
Katherine Hui-ling Chou Editor in chief of Performing Taiwan, August 2014
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導言 關於《塵埃》的一些絮絮叨叨 陳世杰（劇作家，中國文化大學戲劇系副教授）
請你先不要讀
所謂的導言，以及徐堰鈴的「編導的話」，直接翻
到劇本正文開始閱讀。 ＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊ OK，看完劇本回來了？那我繼續說了。（
，連
文章，我都希望
你讀得支離破碎） 相較於古典美學以及現代主義，「後現代性」作為一個美學表徵，呈 現的是與「統一性」、「一貫性」或者「優雅風格」的差異。「後現 代」是因為系統的組織概念已經被打破，縫
、破碎、多元本身就是
敘事主題，反應在戲劇結構上，即是沒有一個聚焦的敘述主軸，角色 之間的關係並不明確，尤其在多媒體科技大量應用在劇場藝術的當 下，一齣表演可以是充滿人生片段、身體即興、互動投影等元素，觀 看者不再只能依賴著「起承轉合」的戲劇主軸來看待一齣戲的內容。 從 塵埃
個角度閱讀徐堰鈴的《塵埃》（或者你有幸看過現場演出）， 潑墨書房
的確符合後現代文本的表徵：六個完全沒有關連的片段輪番上演，角 色之間的對話不盡然合乎現實邏輯（如二十五年沒見面的母子在 Facebook重
、夏娃引誘亞當從地球到別的星球、一位老人買完麵包
後返家，發現自己老了二十五歲），對白流動，立場曖昧，人際關係 網絡化，《塵埃》處處可見近十年才出現的當代字眼。 但在
看似破碎、多元元素組合的後現代語境，創作者毫不掩飾屬於
的焦慮；
的立場篤定，強烈質疑
些造成當代世界支離破碎的各
種原因：當代人與人的接觸，大部分都是透過虛擬的臉書， 的
？人們已經習以為常手機螢幕出現的人身視
技，然而
是人與人之間應有的溫度
顛覆了原本「母與子」的肉身連結， 從
是正常
或是立體投影科
？「代理孕母」的醫學科技， 是不可被爭議的
層角度觀之，徐堰鈴仍十分關注「人的異化」
？
個現代主義的核
心命題。後現代主義者狂歡地慶祝流動的、破碎的當代世界；徐堰鈴 則試圖把
些在慶典現場的人們拉回來，重新思索「人之所以為人」
的人性價
。在歌頌高速發展科技（就像展場上的智慧型手機，每個
月就更新一代）的當代人，應該積極地覺察自己的當下處境，那些支 配你的物件是否帶給你幻覺？那些你以為是自己的意志，是否即是自 己的意志？ 《塵埃》呈現了敘述與情節的破碎，同時質疑了人的破碎。文本中唯 一充滿溫度的道具，很諷刺地，是羅丹那座冷冰冰的雕塑作品；兩個 塵埃
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角色細述羅丹雕像呈現出的肌肉紋理、色彩處理，感受到雕塑綻放的 「流動空氣」，甚至覺得雕塑「在眼前復活了」——
正是對古典藝
術的讚嘆，對那些具有人性溫度的藝術品的懷念。 所以我在開頭建議你先別讀徐堰鈴的「編導的話」，也先別看
廢
言，因為我們都說太多了。《塵埃》文本自身便具有高度的強度與張 力，
些文字充滿劇場感與現實感，引領你在腦中創造出屬於自己的
劇場／人生畫面。你一定可以從中強烈感受
六段故事的荒
與真
實，因為那都是我們所正面臨的生活處境；你應該也察覺到了徐堰鈴 的思辯和疑問，因為那也正是我們都該有的質疑。 「我們都只是一顆灰塵，不偉大，不完整。」
是《塵埃》中的一句
臺詞。雖然每個人都只是一顆灰塵，灰塵聚集起來成為塵埃，但如同 王爾德說的：「我們所有人都活在臭水溝裡，但是有些人仰望著星 辰。」 還好我們會思索，還好徐堰鈴導了
塵埃
齣戲，寫了
個劇本。
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Please skip this introduction, as well as the directorial statement to the play, and read the play first. ＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊ OK, have you finished reading the play? Well then, I’ll continue—— See? I even try to make my introduction to the play fragmented and disorienting to read. Unlike classicism and modernism, postmodernism as an aesthetic signifier abandons unity, coherence, and elegance. In the postmodern age, the idea of the system has collapsed, and fractures, fragments and variations have become the dominant narrative themes. These elements also expand into dramatic structures in which neither a unifocal narrative nor a clear character relationship exists. Nowadays, 塵埃
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with multimedia technology so abundantly employed in the theatre, a performance can be composed of various elements such as little pieces of everyday life, physical improvisation and interactive projections. Therefore, the audience can no longer evaluate a play solely according to the traditional, linear dramatic structure of setup, development, reversal, and resolution. Whether you experienced it as text or performance (if you were lucky enough to have seen it live), Yen-ling Hsu’s The Dust is indeed in accord with the characteristics of a postmodern text: six fragments unrelated to one another, a logic not entirely like the one operating in our real world (such as the reunion of a mother and a son on Facebook after a twenty-five-year separation, Eve’s luring of Adam from Earth to another planet, and the sudden aging of an old man by twenty-five years on his way home after buying pastries), erratic dialogues,
ambiguous
character
motives
and
“Internet-ized”
interpersonal relationships. New words and idioms that were coined in the past ten years also appear everywhere in the text. Placing the play within such a fragmentary, multifarious postmodern world, the playwright does not hide her anxiety at all, questioning and probing into the causes that disconnect and disintegrate our
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modern society. Is it normal to build our relationships mostly through such virtual spaces as Facebook? People have been habituated to interact with the digital, in the form of video chat or live projection, but can these images really replace warm-bodied human beings? If medical advancement in surrogate motherhood has subverted the bodily connection between mother and child, is this relationship still indisputable? From this perspective, it is perceivable that Yen-ling Hsu is concerned with a core theme of modernism: the alienation of humankind. While postmodernists revel in a fluid and fragmented contemporary world, Yen-ling Hsu ventures to awaken and encourage the revelers to reconsider the value of humanity and what it means to be human. If you’re one of those in praise of the rapid development of consumer technology (e.g. new smart phones that keep hitting the market on a monthly basis), you should reexamine the circumstances you’re living in. Do those objects you’re using actually dominate you and obscure reality with illusions? Is the free will you think you have really under your own control? In presenting the fragmentation of narratives and plots, The Dust questions the fragmentation of humanity. The only warm object in
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the play is ironically the bloodless sculpture made by Rodin. The two characters in the play describe the vivid texture of the muscles and the color treatment of Rodin’s lifelike sculpture, feeling as if it exudes joie de vivre and comes to life before their eyes. This reflects not only an appreciation of classical art but also nostalgia towards works of art that embrace the warmth of humanity. This is why I suggested that you skip Yen-ling Hsu’s statement and my ramblings, because we talk too much. To read the text of The Dust is in itself an intense experience filled with both theatricality and everyday realism, leading you to create your own theatre and envision your own picture of life. You will surely have strong feelings about the absurdity and realism of the play’s six stories because each of them truthfully mirrors a part of our lives; you may also have discerned Yen-ling Hsu’s doubts and speculation on these issues because they are deeply pertinent to the conditions of modern living. “We are all nothing more than a speck of dust, neither notable nor complete.” This is a line from The Dust. Everybody is merely a speck of dust, and when gathered, only an amalgam of dust. Still, as Oscar Wilde said, “We are all in the gutter, but some of us are looking at the stars.”
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We should feel lucky that we are capable of reflection; lucky that Yenling Hsu wrote this play, and has brought it to the stag.
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《塵埃》劇本
編劇／徐堰鈴
劇情簡介 每當我仰望星星，我總是哭泣。 每當我仰望月亮，我總是思念。 人是何物？人是何物？ 時間是風，從死亡的方向吹來。 生命是夢，在小河裡慢慢流動。 《塵埃》（The Dust）
個作品透過不同的情境戲段，完成一個類似舞
蹈氣質的表演：人的肉體因為驚喜和驚恐而顫動著。劇中人物經常因 期待而恐懼，表情著驚恐和驚喜，矛盾的身體張大著，特寫了被存在 價
觸動的模樣。提問、讚美、憤怒，作品的主題指向生命本質：人
何從何去？為什麼有慾望？人瞭解組成自己的現實是什麼 與人性」之間的拉
？「科技
，也可以說，是不斷去測量已知和未知的界線，
而超越已知，似乎是人類最神秘又危險的本能，進步或傷害全是相對 且折返的。 舞臺的概念為一室內空間解構的爆炸瞬間，以此力度與凝止，演繹文
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本中潛在的永恆、消長、瞬間，是情感，是速度，是動態；人若是塵 埃所組成，那麼，其不可見的思想運動，在此舞臺物質空間裡，則以 影像的方式顯像哲學，尤其針對「感知的不平穩」；身體運動的殘缺 或不成熟，暴露的都是渴望；聆聽者的回饋，都會是歌唱。科學結果 是一連串難耐的實驗，
多雕刻時光者，在時間的裡面、驚懼的邊
上，無不好奇圍觀著「死」那字。
劇本段落 序場、塵埃 1、〈照片與血緣〉 2、〈預感〉 3、〈虛擬歌手〉 4、〈借我火星〉 5、〈羅丹的雕塑〉 6、〈買一條麵包二十五年〉 結尾、殘缺肉體之美
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呈現方式 舞臺：一間公寓的正面「爆炸圖」。建築結構、小物件，也由空間的 中心點模擬其擴散方式。利用懸弔來完成瞬間爆炸的的各種「凝止」 狀態 影像：Feedback／哲思的引導、現象的敘述、推動段落的因 燈光：區隔與展現出不同情境空間的範圍與寓意 音樂：環境音效、聲響、旋律音樂、人聲錄音等層次組合 服裝：中性偏白軟線條為基礎貫
、淡金髮色、偶而添加部分顏色的
變化 演員動作：兩人串演12角、無實物表演、「杭丁頓氏舞蹈症」和嬰兒 學走路
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序場、塵埃 【影像出現】 【燈光出現】 【聲響出現】 【影像結束，燈光和音樂隨即結束】
、〈照片和血緣〉
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【燈亮。
是一間辦公室，母與子二十六年之後，首次見面。兒子坐
在辦公椅上。有環境音效聲。母親有點臺灣國語。】 母：
張別看，我好醜。
子：民國七十六年。 母：【環顧】你 子：你 母：
裡很高級。
張和我今年一樣耶，二十六歲。 樣我們以後就可以用 FB 聊天了。
子：那我親生的爸爸？ 母：你的爸
。啊！那時候是沒有想
沒有
。
子：【笑】本來沒有我。 母：是沒有
想到會是
樣。
【稍長的停頓】 子：媽，你看
塵埃
個。
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母：是什麼？ 子：我昨天和我女朋友分手了。 母：好多。我眼睛都霧霧了。 子：現在我要【按鈕】刪掉，
所有寄給我的東西！刪掉刪掉！好
了，乾乾淨淨。 母：為什麼
架？
子：為什麼突然要找我？ 母：因為我？ 子：我心裡很亂。為什麼找我？ 母：我一直想著你。【臺語】 子：然後你就直接
來我辦公室，還要我加你 Facebook
母：【停頓】以後，會有時間可以，認識。 子：我的 Facebook 裡面有一千多個我不認識的人！【立即反悔】我不 是那個意思。 塵埃
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母：今天看到你以前，我都覺得我人好像缺了什麼東西。 子：看到你之前，我很緊張。 母：怕什麼？ 子：【看
】我怕我跟你長的很像。
母：是看不太出來。 子：還好不像。【立即反悔】 母：你叫我媽媽。 子：可以
？
母：當然可以，謝謝你。 子：
不客氣。
母：我走了。
張留給你。
子：你護貝起來了。 母： 塵埃
樣才不會沾
。再見！ 潑墨書房
子：【遞出】
是我名片，再打給我好
？
母：照片後面有我家電話。 子：就說
？
母：說你是我兒子。 子：好。 母：不要跟女朋友分手。 【母親離開，兒子看著照片】 【照片上升漂浮在空中、聲響出現、影像進、燈光變化、登登舞蹈】 【影像結束，燈光漸暗】
【燈光漸亮】
、〈預感〉 【襯底音樂進。美容醫師和妻子家裡，各自家務著，某日】 塵埃
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版權 《表演臺灣彙編：劇本，設計，技術， 戲劇劇本館
》
《塵埃》
出版單位／國立中央大學黑盒子表演藝術中心 發行人／周景揚 地址／桃園縣中
市中大路300號
電話／(03)426-4805 傳真／(03)426-4805 信箱／theatre@ncu.edu.tw 作者／徐堰鈴 戲劇製作／徐堰鈴 總編輯／周慧玲 執行編輯／李易修 執行編輯／詹傑 助理編輯／蔡家綾 英文翻譯／吳政 英文校對／劉微明 法律顧問／李友琦
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製作公司／潑墨數位出版行銷有限公司 發行日期／2014年6月 初版 指導單位／
本數位出版品之製作出版，接受文化部「推動公有文化創意素材加 應用」計畫補助。 定價220元 版權所有，翻印必究。 本書若有任何缺誤，請與我們聯繫。 e-ISBN/9789860434989(ePub)
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Published by The Performance Center at National Central University Publisher in Chief/Dr. Jing-yang Jou Address/No. 300, Jhongda Rd., Jhongli City, Taoyuan County 32001, Taiwan (R.O.C.) Phone/+886-3-426-4805 Fax/+886-3-426-4805 Email/theatre@ncu.edu.tw Author/Yen-ling Hsu Producer/Yen-ling Hsu Editor in Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan Assistant Editor/Chia-ling Tsai 塵埃
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Playwright/Yen-ling Hsu Translator/Jheng-han Wu Proofreader/Wei-ming Liu Legal Consultant/Yo-chi Li Digital Production/Puomo Digital Publishing & Marketing, LLC. Publication Date/June 2014, first edition The production and publication of this digital publication is sponsored by the Ministry of Culture’s Public Creative and Cultural Material Value-added Application project. Suggested Retail Price/NT$220 © Copyright Performance Center at National Central University, 2013. All rights reserved. Please contact us for any mistakes or missing content in the book. e-ISBN/9789860434989(ePub)
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