《第一屆全球泛華青年劇本創作競賽得獎作品集》試閱本

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封面／Book Cover 目錄／Content 總編輯的話／From the Editor in Chief 關於「全球泛華青年劇本創作競賽」／About the World Sinophone Drama Competition for Young Playwrights 序言／Foreword 首獎作品《異 記》作者簡介／Playwright, “Holy Crab!” (First Prize) “Holy Crab!” Script (First Prize) 首獎作品《異 記》劇本 首獎作品《異 記》決審評語／Commentary, “Holy Crab!”

(First Prize) 貳獎作品《 爪，或如何拍一部了不起的紀錄片》作者簡介／ Playwright, “Dirty Paws, or How to Make a Great Documentary Film” (Second Prize) “Dirty Paws, or How to Make a Great Documentary Film” Script (Second Prize) 貳獎作品《 爪，或如何拍一部了不起的紀錄片》劇本 貳獎作品《 爪，或如何拍一部了不起的紀錄片》決審評語／ Commentary, “Dirty Paws, or How to Make a Great Documentary Film” (Second Prize) 獎作品《拳難．拳難》作者簡介／Playwright, “Fallacy of the Fist” (Third Prize) 獎作品《拳難．拳難》劇本 “Fallacy of the Fist” Script (Third Prize) 獎作品《拳難．拳難》決審評語／Commentary, “Fallacy of the Fist” (Third Prize) 附錄1 第一屆「全球泛華青年劇本創作競賽」徵件辦法／

第一屆全球泛華青年劇本創作競賽得獎作品集

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Submission Guidelines, “Inaugural World Sinophone Drama Competition for Young Playwrights” 附錄2 評審簡介／Introduction of Judges 附錄3 「全球泛華青年劇本創作競賽得獎作品讀劇藝術節」劇 照＆影音／“The World Sinophone Drama Competition for Young Playwrights Festival of Award-winning Plays” Selected Photos & Video Clips 附錄4 「全球泛華青年劇本創作競賽得獎作品讀劇藝術節」讀 劇團隊介紹／“Inaugural World Sinophone Drama Competition for Young Playwrights Festival of Award-winning Plays” Staff Credit 附錄5 「全球泛華青年劇本創作競賽」團隊介紹／“Inaugural World Sinophone Drama Competition for Young Playwrights” Partners 附錄6 首獎作品《異 記》2016年創作社劇團演出影音片段／ Holy Crab! (First Prize) Clips from a performance by the Creative Society, 2016 台灣現代戲劇 表演影音資料庫簡介／About ETI, Electronic Theater Intermix in Taiwan 版權／Copyright

第一屆全球泛華青年劇本創作競賽得獎作品集

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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「臺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 姿，

個古老表演媒介的立體風

套叢書透過新的編輯概念與發行平台，不

更強調影音資

收納了文字書寫，

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

」的經濟語境中登台亮相。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 第一屆全球泛華青年劇本創作競賽得獎作品集

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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台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，不由編輯台對作品逕行分類，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》

第一屆全球泛華青年劇本創作競賽得獎作品集

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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》以及《江佶洋燈光作品集》。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》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 也是觀

最不熟悉的一群劇場工作者。為了提升

第一屆全球泛華青年劇本創作競賽得獎作品集

兩個部門工作者的

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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記錄。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。 2015年起，我們又加入了「全球泛華青年劇本創作競賽」（World Sinophone Drama Competition for Young Playwrights），希望透過 徵文的方式，主動彙集新一代青年劇作者筆下全球各地華語社群的 生相。我們將

些來自全球各地不限國際的作者的得獎作品，納入

《表演臺灣彙編》，藉此豐富臺灣原已多元自由的創作生態，並為在

第一屆全球泛華青年劇本創作競賽得獎作品集

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地戲劇創作注入不同的生命經驗，共同演繹一個不斷玩味界限的「表 演臺灣」。於此，《表演臺灣彙編》系列叢書正式出現「

選」與

「徵稿」兩個編輯脈絡，前者以書寫紀錄臺灣表演為目的，後者則以 翻轉新世紀華人的精神內涵為宗旨，兩者共同形構臺灣為一個跨疆域 的實驗基地。

公開展演與影音記錄之選錄雙軌 《表演臺灣彙編：劇本，設計，技術，1943~》最重要的編輯概念是擴 大劇場創作的流通媒介以及將演出影音紀錄納入出版內容。因此， 選作品必須是已經公開演出過的作品，且能 以臺灣的表演藝術生態而言，一個作品能 一定的社會資源，

提供影音相關

息者。

搬上舞臺，必然已經取得

些資源的取得，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。至於徵稿作品，則因為「全球泛華青年劇 本創作競賽」本身同時規劃了讀劇的立體呈現，因此，我們至少可收 錄讀劇的影音

案。

除了極為少數幾部無法取得任何演出影音記錄的早期經典之作，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。 我們堅持公開展演與影音紀錄的選錄雙規，是為了提醒表演藝術的創 第一屆全球泛華青年劇本創作競賽得獎作品集

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作者們，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，爲日後的產業化以及作品的永續流通，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、編輯小組、龐大的翻譯團 隊、以及為每本書

寫導讀的學者評論人，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。電子書編輯發行有其特殊性，我們極為珍惜可更新 特殊的編輯概念，因此儘量在一定的時間內，更新書籍內容資 為

個 。因

樣，編輯以及翻譯大軍每每不厭其煩的修整內容。我們希望能以

此提供一個不同的閱讀平台，盡可能地將舞台演出之後的創作風采， 與更遠的觀

讀者們分享。

《表演臺灣彙編》叢書總編輯，2016年9月

第一屆全球泛華青年劇本創作競賽得獎作品集

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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. 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 ebooks, 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 performance experts and images.

In 2010, in an economic atmosphere where 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 performing arts community responded with seemingly re-energized fervor, it is evident that professionalization in the performing arts scene is still in progress, and we still have a ways to go before we can 第一屆全球泛華青年劇本創作競賽得獎作品集

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call ourselves “industrialized”. At the same time, Taiwan cannot afford to be absent from the global emergence of cultural and creative industries. 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 open up a window of reading and appreciation for all segments of performing arts, from theatre to operatic Xiqu , puppetry to musical theatre, physical theatre to dance.

第一屆全球泛華青年劇本創作競賽得獎作品集

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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 unable to fully reflect the diverse and creative segments 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 specialty, we decided to discard the traditional editorial division and let the creators to choose their own categories. 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 cross-cutting 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 constituted the Performance Text Series.

In this series, we invite performance artists (such as directors or choreographers) to write about the staging of their completed works in order to retain quality performances that the reader would otherwise be unable to access.

In 2013, we first published four drama scripts: Lin Tuan Chiu’s Selected Plays: Takasago Hotel and The Good Doctor ; He is my Wife, He is my 第一屆全球泛華青年劇本創作競賽得獎作品集

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Mother ; Touching skin ; 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. Lin Tuan Chiu, which are the oldest existing Taiwanese drama scripts. Peach Blossom Rain, is a distinctively Taiwanese experimental Xiqu production that received very high acclaim during its initial run. Self Re-Quests received the 2011 Taiwan Literary Award for Best Play. These two works 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 all the way as she launched her theatre company and subsquently produced the play. He is my Wife, He is my Mother has received much academic attention locally and abroad, while Touching Skin was one of the earliest works about lesbian relationships in Taiwan; both wield creative impact on the presentation and expression of gender for Taiwanese playwrights.

Thanks to the generous authorization of many performing arts groups, we are now able to share precious segments of recorded performances; these groups have made this collection especially 第一屆全球泛華青年劇本創作競賽得獎作品集

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worth reading.

During the first half of 2014, we published The Drought Goddess , The Dust , Selected Plays from Puppet & Its Double Theatre and The Light Passing the Time . The three dramatic texts are drastically different in style: The Drought Goddess depicts 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 is a collection of splendid modern puppet plays performed by Puppet & Its Double.

Together, all these works demonstrate the aesthetic freedom and diversity of Taiwanese theatre.

In addition to written records of performance texts are the Design Series and the Stagecraft Series. Over the past thirty years, the performing arts community in Taiwan has cultivated 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 performing artists, and yet they are the least known to the general public. In order to facilitate the reutilization of the creative solutions and experiences of these two contingents, and to optimize the distribution professional knowledge in performing arts,

第一屆全球泛華青年劇本創作競賽得獎作品集

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we invited experienced designers and technical theatre workers specializing in unique stagecraft to compose topic-specific, accessible e-books so as to legate complete records of the development of performing arts in Taiwan. Since 2014, Mr. Yi-hsiu Lee and myself have shared 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.

In 2014, we published 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 with, making reproduction rights extremely difficult to acquire. We hereby express our thanks to veteran theatre technical specialist Mr. Chien-hua Si and promising lighting designer Mr. Chi-yang Jiang. Their support and collaboration fulfilled our ambition, but more importantly, we have been able to encourage more outstanding and experienced theatre workers to log, from the side, the splendidness and hardships 第一屆全球泛華青年劇本創作競賽得獎作品集

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of Taiwan’s contemporary theatre.

In 2015, we organized the World Sinophone Drama Competition for Young Playwrights, aiming to recruit young, aspiring playwrights capturing the pictures Sinophone communities across the globe. The winning works of this competition have been included in Performing Taiwan , not only enriching the diversified and liberal creative environment in Taiwan, but also infusing different life experiences into local theatrical works, jointly illustrating a Taiwanese performing arts community that continues to explore and expand limits. Thus, the Performing Taiwan collection consists of works that were either selected by a team of theater critics with the aim of documenting performances in Taiwan, or submitted by aspiring playwrights seeking to upturn the essence of the Sinophone community in a new era. Works included in this collection under these two schemes would

consequently

lay

the

grounds

for

experimental

interdisciplinary works in Taiwan.

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 第一屆全球泛華青年劇本創作競賽得獎作品集

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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 this collection. Since audiovisual content and written text are the two key elements of this online 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.

Our firm stand on the two principles of selection is a reminder to those in the community that besides focusing on staging productions, they should also take note of alternative approaches to reproducing works of the performing arts, in order to build a solid foundation for future creative industries.

We would like to thank all the artists, editors, translators, and the 第一屆全球泛華青年劇本創作競賽得獎作品集

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team of scholars and critics for providing us with textual accompaniments about the authors or their works from the perspectives of long-time collaborators and continued critical engagement. We would also like to extend our gratitude to 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 balance between sharing creative content and defining intellectual property rights is a part of our mutual agenda. The editorial and publication process of e-books is very special in the sense that the contents may be recurrently updated, which we greatly cherish.

Without the hard work of everyone mentioned, it would have been nearly impossible for us to produce the foreign language translations within such a limited timeframe on a unique reading platform that would serve as the basis for future distribution to audiences beyond our years and whereabouts.

Katherine Hui-ling Chou Editor-in-chief, Performing Taiwan, September 2016

第一屆全球泛華青年劇本創作競賽得獎作品集

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關於「全球泛華青年劇本創作競賽」

「全球泛華青年劇本創作競賽」以世界各地新生代（18歲至35歲）青 年劇作家爲對象，同時徵求中文、英文劇本，目的在於廣納各種觀 點、視角以及不同的創作思維，豐富以華人文化、移民、歷史及社區 等泛華相關主題的舞臺劇本創作。中文劇本不限定寫作主題；以英文 書寫的劇本，則需為展露泛華社群自身關照的新作，或側錄反映不同 泛華社群彼此之間的對話，或與其他文化、社會撞擊的劇本創作。 在文化與藝術早已高度全球化的此刻，本競賽意圖召喚全球對泛華文 化圈的注視與拓展泛華青年的視野。從多元紛陳的臺灣出發，將劇本 創作視為泛華文化圈彼此之間，或與其他文化對話的舞臺，召喚更多 不同混血文化的劇本美學，讓新時代的泛華戲劇界發出更多聲響、展 現更多樣的身段與風姿。 自2014年10月公告，2015年2月25日截止收件。長達5個月的公告徵件 期，線上

冊總人數達349人，其中198人完成線上投件，包括中文組

181件，英文組17件。中文組投稿者以台灣與中國大陸為多，分別佔 42.5%和43.1%，也有來自港澳、馬來西亞的稿件，投稿比例合計達 14.4%；英文組則包括台灣、中國大陸和新加坡的雙語劇作家，也有正 在亞洲學習的英國、保加利亞的外籍劇作家投稿。最年輕的投稿者則 第一屆全球泛華青年劇本創作競賽得獎作品集

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是來自香港年

18歲的中學生，其作品一路闖至決審，足見新生代創

作者的創作實力不受年齡限制。 本次投稿作品內容各有千秋，評審們在詳讀作品的過程中，從文本形 式、故事架構、脈絡邏輯、角色塑造、與文化底蘊等多重角度，探 劇作家敘說的故事是否具有原創性或新穎的切入角度。整體而言，創 作趨勢多以歷史題材來發揮，在社會現況與文化歷史脈絡均有精彩的 呈現。歷經中、英文組分別辦理初、複審審

後，中文組選出了12件

優秀作品進入決審，英文組則選出3件。決審邀請精通雙語文字創作的 評審委員，將中、英文劇本並列審 決審會議上提到對

，選出前三名劇本。決審評審在

稿件的觀察，認為所有入圍作品的文字與語

15

言都有一定的水準，但2

英文劇本的流暢度與完整度更甚中文組的創

作，因而勝出。我們期許

樣一個以世界為競技擂台的青年劇本競賽

能

引出更多更精彩的作品，不斷提升泛華文化的劇場動能與品質。

第一屆全球泛華青年劇本創作競賽得獎作品集，所收錄之獲獎劇本， 以投稿時，作者所書寫之語言類別優先刊載，故Holy Crab! （中譯名 《異

記》）、Dirty Paws, or How to Make a Great Documentary Film

（中譯名《

爪，或如何拍一部了不起的紀錄片》）將先行以英文版

劇本置於前，並另委任專業譯者進行翻譯，以嚮不同語言閱讀之讀者 群。

第一屆全球泛華青年劇本創作競賽得獎作品集

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Inaugural

World

Sinophone

Drama

Competition

for

Young

Playwrights project seeks to encourage production of new dramatic works that reflect upon global Chinese culture from a variety of perspectives and enrich our understanding of Sinophone cultures, circulations, histories, and communities. To this end, we invite young playwrights (aged 18-35) to submit new scripts composed in either English or Chinese for the inaugural round of this international drama competition. For English-language submissions, we welcome works of self-reflection from members of Sinophone communities, as well as those that explore encounters among the Sinophone and other cultural contexts; for Chinese-language submissions, there are no specific requirements for content. In today’s world of highly globalized culture and art, we call upon the young playwrights of the world to turn their gaze toward and expand their understanding of global Sinophone cultures. We take the inherently hybrid and diverse locale of Taiwan as our main stage for engaging artists and audiences both in and beyond the Sinophone, and especially seek new works of hybridized cultural and dramatic aesthetics that will add new voices 第一屆全球泛華青年劇本創作競賽得獎作品集

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to Sinophone theatre and further invigorate the already diverse field of global Sinophone cultures.

Entries were accepted from October 2014 to February 25, 2015.

During this five-month period, the competition received as many as 349 online registrations,198 of which submitted soft-copy entries, including 181 Chinese ones and 17 English ones. Most of the Chinese entrants come from Taiwan (42.5%) and mainland China (43.1%).

Submissions from Hong Kong, Macao and Malaysia made up 14.4% of the entries to this competition. Bilingual playwrights from Taiwan, mainland China and Singapore contributed to the English entries, as well as English and Bulgarian writers currently studying in Asia. The youngest entrant is an 18-year-old high school student from Hong Kong, whose submission had gone all the way through to the final round. This goes to show that creative talent is never limited by age in this new generation.

Each of the entries has its own strong points. During the evaluation process, the judges tried to determine whether these plays are indeed original and innovative according to their forms, structures, contexts, characters and cultural references. Overall, most of the creations were inspired by historical subjects, and made remarkable presentations of

第一屆全球泛華青年劇本創作競賽得獎作品集

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the world’s circumstances and society’s cultural and historical past. A preliminary screening and an intermediary review were each held for the Chinese and English groups, and 12 Chinese plays and 3 English plays were selected for the final review. Experienced professionals who are fluent in both languages were invited to be the judges of the final screening. Chinese and English plays were reviewed at once, and the three best ones were selected. The panel of judges considered the 15 plays up to par in terms of style and wording. However, two English plays, being more mature and thorough in their respective context, had stood out from all of their Chinese counterparts. We hope that an international competition for young playwrights like this will encourage more great works in the future, and bring the momentum and quality of the Sinophone theatrical community to the next level and beyond. The winners of the 1st World Sinophone Drama Competition for Young Playwrights will be presented in their original languages. Hence the English versions of Holy Crab! and Dirty Paws, or How to Make a Great Documentary Film will go first, followed by other language versions completed by professional translators. We hope these plays can be appreciated by all of our audiences, regardless of language.

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首獎作品《異

記》作者簡介／

朱宜 女，1986年2月2日生於上海。 美國哥倫比亞大學戲劇編劇碩士，南京大學戲文本科，在

威奧斯陸

學院受面具表演訓練。美國戲劇家協會會員。紐約Ensemble

Studio

Theatre駐場編劇。獲上海現代戲劇穀壹戲劇大賞「2015年度菁英編 第一屆全球泛華青年劇本創作競賽得獎作品集

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劇」獎。獲紐約戲劇工作坊2012-2013新銳藝術家基金。任南京大學文 學院客座講師。舞臺劇作品《我是月亮》、《進化論》、《長 生》、Telemachus 、Lifetime Fairytale 、Holy Crab! 、《時間都去

兒

了》、《前程似錦》等；電影作品《飯碗》、《對面的女孩殺過來》 等。作品曾在紐約國際前沿戲劇節（New York International Fringe Festival）、愛丁堡前沿戲劇節（Edinburg Festival Fringe）、布宜諾 賽勒斯青年藝術雙年展、華盛頓首都前沿戲劇節（Capital

Fringe

Festival）、北京青戲節、中國國家話劇院−中國原創話劇邀請展、上 海話劇藝術中心、北京首都劇場、聖路易士莎士比亞戲劇節、紐約亞 洲電影節、臺北電影節、臺北金馬影展、布宜諾賽勒斯影展、夏威夷 電影節、曼谷世界電影節、義大利烏迪內遠東電影節、西班

大西洋

影展、北京獨立影展、臺北國際紀錄片影展等公演公映。zoezhu.com ZHU YI ZHU YI is a bilingual playwright and screenwriter, born and raised in Shanghai. She received her MFA in playwriting from Columbia University. She received Shanghai Drama Valley’s 2015 Outstanding Playwright of the Year Award. She is a 2012-2013 Emerging Artist Fellow at New York Theatre Workshop, a Youngblood Writer at Ensemble Studio Theatre in New York City, a member of Dramatists Guild of America, a member of Chinese Pioneering Filmmakers

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Association, and an adjunct lecturer at Nanjing University, China. www.zoezhu.com Stage plays: I Am a Moon (New York International Fringe Festival, New York City; Edinburgh Festival Fringe, United Kingdom; Mu Ma Theater, China; 3LD Art and Technology Center, New York City; Global Voices: Spring Staged Readings, Theater Emory, Atlanta, Georgia), How Time Flies (China Original Drama Invitational Exhibition, China National Theatre of China; Beijing Capital Theatre, China; National tour in China), Holy Crab! (Unfiltered Festival, Ensemble Studio Theatre, New York City), The Offended Audience (R+J: A Telephone Play , the Chapel, Saint Louis, MO), Long Life (Shanghai Dramatic Arts Center, China), Long Distance Affair (Bienal Arte Joven Buenos Aires, Argentina; Edinburgh Festival Fringe, United Kingdom), Evolutionism (Beijing Fringe Festival, China; National Pioneer Theater, China; Manhattan Repertory Theater, New York City), Lifetime Fairytale (Riverside Theatre, New York City).

Films: Scrape (Taiwan International Documentary Film Festival; Alcances Film Festival, Spain; Beijing Independent Film Festival), Apolitical Romance (Best Feature Nomination at Taipei Film Festival; Buenos Aires International Independent Film Festival; New York Asian Film Festival; World Film Festival of Bangkok; Hawaii 第一屆全球泛華青年劇本創作競賽得獎作品集

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aInternational Film Festival; Udine Far East Film Festival, Italy; Taipei Golden Horse Film Festival). 獲獎感言 從小我就對故事著迷；對要跳一跳才能摘到的果子著迷；對和自己完 全不同的人和事物著迷。於是我從上海

去了南京，

威，最後紐

約……走得越遠，我越相信每個藝術家都應以個體的身份面對 界，而講故事是少有的能 你是誰、在

個世

在任何情況下捍衛個體尊嚴的方式，不論

裡、面對著什麼。Holy Crab! 是一個容易被劃入「亞裔／

移民題材」的戲，我真正想寫的卻是更廣闊的東西，是人類對外面世 界的嚮往，和對外來者的疑懼。

兩種心態相撞，造成了歷史上的無

數次衝突，卻也把我們在更深的層面聯結在一起。 Winners Testimonials I’ve always been fascinated by stories; by fruits only reachable if you keep jumping up; by the people and things that are completely different from who and what I am. And so I went, from Shanghai to Nanking, to Norway, and finally, to New York. The further I wandered, the more convinced I became of this: an artist must face the world as an individual, and storytelling is one of those rare things that can ensure the dignity of the individual in any circumstances, no 第一屆全球泛華青年劇本創作競賽得獎作品集

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matter who you are, where you are, or what you are facing.

It’s easy for people to categorize Holy Crab! as a play about (Asian) immigrants. But what I was aiming for was something a bit broader —the very human yearning for the outside world, and the fear/ distrust of outsiders. The collision between these two mindsets has filled human history with countless clashes; at the same time, it also connects all of us on a deeper level. 譯者介紹 劉微明，台大外文畢，哥倫比亞大學戲劇結構藝術碩士。戲劇顧問和 文本協力作品包括《東京酒吧》、《開心鬼》、《蘿莉控公路》、 《紅衣與金

》、《三顆頭》。譯作包括《誰殺了少尉的

》、《三

顆頭》、《少年金釵男孟母》、《大神魃》。 Translator Wei-ming Liu holds a BA in English literature from NTU and an MFA in dramaturgy from Columbia. She is a theatre person in many ways, many times over. Organizations she worked with include the Irish Repertory Theatre (development/ marketing/ sound op); Taiwan Women Theatre Festival (production); Taipei Theatre Lab 第一屆全球泛華青年劇本創作競賽得獎作品集

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(artistic director); Performance Center at NCU (marketing); Greenray Theater (performance rights).

Productions of note: In the Bar of a Tokyo Hotel Pumpkin Brought Me Here

(dramaturg); The

(director/ playwright). Translation

works: Lieutenant of Inishmore , Three Heads , He is My Wife, He is My Mother , and The Drought Goddess .

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What lure us away from home?

What bring us back?

A young Chinese girl travels to America, and unexpectedly falls in love with a border protection officer, while her brother’s blackmarket business is running out of control... In the meantime, NYS Dept. of Environmental Conservation released a public alert about the newest Hudson River invader – Chinese Mitten Crabs. And yet, on the other side of the earth, people in China have been enjoying them as the most classic and expensive delicacy for thousands of years. The play blends the two stories above into a dark comedy, which ambitiously aims to rephrase the American immigration history (from the first permanent Spanish settlement in 16th century to Dream Act in 21st century), and exam our prejudice to the cultures of others’, and sometimes, our own.

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Scene One Times Square, New York Time: Present Scene Two US Custom Border Protections at JFK, New York Time: Present Scene Three Hudson River/Pier, New York. In dark.

Time: Present Scene Four Eat Pray Love Inc. office in Manhattan Chinatown Time: Present Scene Five Hudson River/Pier. In dark.

Time: Present Scene Six Times Square 第一屆全球泛華青年劇本創作競賽得獎作品集

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Time: Present Scene Seven US CBP at JFK in Doug’s dream Time: Present Scene Eight Forest Time: 16th Century Scene Nine Eat Pray Love Inc. office Time: Present Scene Ten Cotton field Time: Mid-19th Century Scene Eleven On a helicopter above New York City Time: Present Scene Twelve

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Times Square Time: Present Scene Thirteen N/A Time: Late 19th century Scene Fourteen A Chinese restaurant Time: Present – Thanksgiving Scene Fifteen US-Mexico border in Texas Time: Present Scene Sixteen Times Square Time: Present Scene Seventeen N/A Time: Present

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Scene Eighteen Doug’s apartment / Jail, visiting room Time: Present Scene Nineteen A seafood store’s storage room Time: Present Scene Twenty Times Square Time: Present

Javier – male, Honduran, 20 years old.

Eugene – male, African, 30 years old.

Libby – female, French, 30 years old.

Doug – male, late 20s, CBP officer at JFK Xu Xia – female, early 20s, Chinese, student Xu Lin (James Xu) – male, early 30, Chinese, Xu Xia’s brother, CEO of Eat Pray Love Inc. Pregnant Woman / Taxi Driver’s Wife – female, 30, Pakistani, 34week pregnant Pregnant Woman’s Husband / Taxi Driver – male, 40, Pakistani 第一屆全球泛華青年劇本創作競賽得獎作品集

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Peter – male, 50, Scandinavian, business man Masha – female, 60, Russian Chinese Mitten Crab 1, 2 and 3 Tourists in Times Square Native American Headman Native American Woman Native American Man Caucasian Woman Caucasian Man Irish Father Black Father Chinese Father Waiter Customers in the Chinese Restaurant CAT (Confined Area Technician) Woman 1 and 2 Scottish Salmon Norwegian Salmon Chilean Sea Bass Russian Caviar Nile Perch Bangladeshi Prawn

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CHARACTERS Javier – male, Honduran, 20 years old.

Eugene – male, African, 30 years old.

Libby – female, French, 30 years old.

SCENE Times Square, New York TIME Present – Daytime – Summer Javier stands still on a wooden box. He is fully dressed in the Statue of Liberty costume and holding a plastic torch. A take-out plastic bowl at his feet with a sign “$5”.

He waves at the tourists and makes gestures to encourage them to take a photo with him.

Eugene walks by in a Minnie Mouse costume and nods at Javier.

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Eugene and Javier bump fists.

Eugene leaves.

Javier keeps greeting the passersby.

Another Statue of Liberty (Libby) appears and chooses a spot near Javier.

Libby’s costume looks more professional. She raises the torch – It’s even lit.

Javier : (cont’d ) Hey! What’s going on?

Libby puts a cup on the ground with a sign “$1”.

Javier : (cont’d ) Hey yo! Are you looking for trouble? I’m talking to You asshole!

Libby discovers Javier and she excitedly gestures “Hey! We are the same!”.

Javier : (cont’d ) Yeah, that’s the problem dumb ass. This is MY place.

You can’t come to MY place and claim a spot just like that.

Are you stupid or an asshole?

A tourist takes a photo of Libby and put one dollar into her cup.

Javier : (cont’d ) (pissed off, to the tourist ) Hey! HEY! What’s your problem?

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Tourist leaves. Javier goes to Libby and picks up that $1 bill from her cup.

Javier : (cont’d ) You don’t mess with me.

Libby tries to take the money back. They fight for a while until Javier hurts Libby.

Libby : Aw! It’s a woman’s voice.

Javier : What the hell? A chick?

Libby sobs.

Javier : (cont’d ) God. Here you are. It’s yours. It’s yours. Stop crying.

God. I never saw a female Statue of Liberty, not to mention a crying one.

Libby takes the money and puts it back to her cup.

Javier : (cont’d ) Well... But that doesn’t mean you can stay here. Can you move somewhere else?

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Libby doesn’t talk to him.

Javier : (cont’d ) Please? …

Dude, business is already so hard. You can’t ruin it more. I’ve been here for five years. Five years. This is my spot. Mine.

Don’t you know the rule?

Javier : (cont’d ) (She speaks with French accent ) What rule?

Javier : (cont’d ) I was here first. That is the rule.

Libby : No. Javier : What do you mean “no”? I was here first – which part don’t you understand?

Libby : I was here first.

You were there first. (She points at where Javier’s wooden box is. ) Javier : Here, here, here, here and here are all mine! You think you are a woman so I won’t touch you? I’m warning you the last time! I’m warning you!

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Libby isn’t scared.

Javier : (cont’d ) What a bitch.

He gives up and walks away... but after takes a second thought, he returns.

Javier : (cont’d ) Give me that torch at least. Give me. Give it to me!

You have to pay me something if you wanna stay in my area!

Libby : No! Javier grabs her torch but she doesn’t let it go. She hits Javier’s head with the torch. His plastic crown drops.

Javier : Aw! Bitch!

Libby runs away.

Javier tidies himself up and goes to posing.

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首獎作品《異

記》劇本

編劇／朱宜 翻譯／劉微明

劇情簡介 我們為甚麼要去遠方？ 我們為甚麼要回家？ 一個中國女生帶著無限憧憬踏入美國，與在美經商多年的哥哥團聚， 不料哥哥輝煌的事業背後卻暗藏玄機，而女主角自己也陷入一段危險 的戀情；與此同時，紐約州環境署發 河的一外來物種以保護當地生態，而

警報，動員全民捕殺流入哈德 個人人喊打的「危險物種」

在地球另一端卻有一個備受寵愛的名字：大閘蟹。──今天與過去、 故

與遠方、現實與奇幻在

齣劇中奇特地交織在一起，帶你從一個

全新的角度看美國移民史。

舞臺說明 第一幕 地點 紐約時代廣場 時間 現代

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第二幕 地點 美國海關入境區，紐約甘迺迪機場 時間 現代 第三幕 地點 暗場。紐約哈德

河岸／碼頭

時間 現代 第四幕 地點 曼哈頓中國城，飯禱愛公司辦公室 時間 現代 第五幕 地點 暗場。紐約哈德

河岸／碼頭

時間 現代 第六幕 地點 紐約時代廣場 時間 現代 第七幕 地點 道格夢境中的甘逎迪機場入境處 時間 無 第一屆全球泛華青年劇本創作競賽得獎作品集

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第八幕 地點 森林 時間 十六世紀 第九幕 地點 飯禱愛公司辦公室 時間 現代 第十幕 地點 棉花田 時間 十九世紀中 第十一幕 地點 紐約市上空的直昇機裡 時間 現代 第十二幕 地點 紐約時代廣場 時間 現代 第十三幕 地點 無 時間 十九世紀末 第一屆全球泛華青年劇本創作競賽得獎作品集

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第十四幕 地點 中

館

時間 現代，感恩節 第十五幕 地點 美墨邊界，德州 時間 現代 第十六幕 地點 紐約時代廣場 時間 現代 第十七幕 地點 無 時間 現代 第十八幕 地點 道格的公寓／監獄訪客間 時間 現代 第十九幕 地點 海產店

藏室

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第二十幕 地點 紐約時代廣場 時間 現代

角色介紹 哈維：男，洪都拉斯裔，二十歲 尤金：男，非裔，三十歲 小由：女，法裔，三十歲 道格：男，甘迺迪機場海關警員，近三十歲 徐夏：女，學生，中國籍，二十出頭 徐林（James 徐）：男，徐夏兄，中國籍，飯禱愛有限公司總裁，三十 出頭 孕婦／計程車司機老婆：女，巴基斯坦籍，三十歲，懷孕三十四週 孕婦的先生／計程車司機：男，巴基斯坦籍，四十歲 彼特：男，商務打扮，北歐籍，五十歲 瑪沙：女，俄籍，六十歲 大閘蟹一、二、三 時代廣場遊客群 美國原住民首領 美國原住民女人 美國原住民男人 白人女性 第一屆全球泛華青年劇本創作競賽得獎作品集

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白人男性 愛爾蘭父親 黑人父親 中國父親 服務生 中

館顧客 CAT（Confined Area Technician）女一、二

蘇格蘭鮭魚 威鮭魚 智利海鱸魚 俄國魚子醬 尼羅河鱸 孟買明蝦

第一幕 出場人物 哈維：男，洪都拉斯裔，二十歲 尤金：男，非裔，三十歲 小由：女，法裔，三十歲 第一屆全球泛華青年劇本創作競賽得獎作品集

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地點 紐約時代廣場 時間 現代。白天。夏季

【哈維站在木箱上面，身上 把。

著全套自由女神裝，手上拿著塑膠火

邊放著食物外帶用的塑膠容器，標著「美金五元」。他對著來

往遊客揮手作勢，鼓勵他們過去跟他合照。尤金從哈維身邊走過， 著一套米

裝，對哈維點頭示意。】

哈維 ：兄弟！ 【兩人握拳互

。尤金離開。哈維繼續跟人互動。

時，走來了另外

一個自由女神（小由），在哈維附近定點停下。小由的自由女神裝感 覺更專業。

舉起火把──火把還會亮。】

哈維 ：

是怎樣？

，

【小由將一只杯子放在地上；標誌寫著「美金一元」】

第一屆全球泛華青年劇本創作競賽得獎作品集

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哈維 ：

那個誰，你找麻煩

？對就是你，白目！

【小由看到哈維，開心的比手劃 哈維 ：我知道啊，問題就在 便便

，表示我們是一樣的】。

裡，你

白痴！

裡是我的地盤，隨隨

進我家就想佔位子，你是白痴還是白目？

【遊客拍攝小由，投下一元。】 哈維 ：【怒；對遊客】

！

！你是怎樣！

【遊客離開。哈維走向小由，拿起那張一元。】 哈維 ：惹我就死定了。 【小由欲將一元搶回。兩人大打出手半晌，哈維弄痛小由。】 小由 ：

！【痛叫】

【女生的聲音。】 哈維 ：

？是個女的？

【小由啜泣。】

第一屆全球泛華青年劇本創作競賽得獎作品集

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哈維 ：

。好

還你，還給你，不要再哭了，媽呀。我從來沒看過

女人扮的自由女神，而且居然還會哭。 【小由接過錢，放回杯中。】 哈維

：錢雖然給你了，但你不能待在

裡。你移到別的地方去好不

好？ 【小由不答。】 哈維 ：拜託

？

…… ，生意已經

難做了，你不要再來雪上加霜行

裡五年了。五年耶。

？我已經在

裡是我的地盤。你懂不懂規矩呀？

小由 ：【法國腔】什麼規矩？ 哈維 ：我先來

裡的。

就是規矩。

小由 ：才不是。 哈維 ：什麼不是？ 小由 ：我先來

裡我先來的，你

裡不懂？

裡的。

第一屆全球泛華青年劇本創作競賽得獎作品集

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你先到的是那裡。【指向哈維的木箱】 哈維 ：

裡、

就不敢

裡、

裡、

裡都是我的地盤。你不要以為是女的我

！我講最後一次了！最後警告囉！！

【小由不為所動。】 哈維 ：死賤人。 【哈維放棄，轉身離開；忽然想到什麼似的又回轉來。】 哈維 ：至少你火把給我。給我。給我

！要

我地盤至少也要付費！

小由 ：不要！ 【哈維抓住火把，小由不放手，用火把打哈維。他的頭冠掉了。】 哈維 ：啊！賤人！ 【小由

走了。哈維整理一下衣服，又開始擺姿勢。】

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貳獎作品《 爪，或如何拍一部了不起的紀錄 片》作者簡介／

趙秉昊 雙語作家，其舞台劇作品曾在紐約、倫敦、新加坡、阿德萊德、台 北、東京和中國大陸多城市上演，包括：《紅纓：樣板戲2.0》（新加 坡藝術節委託創作）、《

爪，或如何拍一部了不起的紀錄片》、

《地雷戰2.0》（東京國際劇場節大獎），《愛神》，《跳房子》等。

第一屆全球泛華青年劇本創作競賽得獎作品集

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將有短

小說集《野獸 ── 午夜故事集》於近期出版。英國皇家宮廷

劇院國際作家組、紐約升圓劇團作家組成員，薪傳實驗劇團駐團作 家。南京大學學士，哥倫比亞大學藝術碩士。 Zhao Binghao Zhao Binghao is a bilingual writer originally from China, whose stage plays have been produced, presented or developed in New York, London, Singapore, Adelaide, Taipei, Tokyo and multiple cities in mainland China. Works include The Red Tassel Project: the Revolutionary Model Play 2.0 (a Singapore International Festival of Arts commission), Dirty Paws, or How to Make a Great Documentary Film , The Warfare of Landmines 2.0

(Festival/Tokyo grand

award), Kurukulla, HOPSCOTCH and many more; the short stories collection The Beast, and other Bedtime Stories

is scheduled to be

published in the spring of 2016. An alumnus of Royal Court Theatre’s International Writers Group, Rising Circle Collective/Ink Tank, and a resident writer for Théatre du Rêve Expérimental. BA from Nanjing University and MFA from Columbia University. 獲獎感言 余少喜文，弄墨數年，父母皆懼，恐不肖，以孝悌之義善誘，未果。 第一屆全球泛華青年劇本創作競賽得獎作品集

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近克壯而無所成，文難測字，武難賣拳；累汗牛文章，橫無彪炳之 業；言和而色夷，字乏讀賣可知矣。以中道殂歿者為師，亦擇善而從 之。性喜

，竟不可近身，惡其毛。獨居於林，

戮笑以為癡狂。時

運不齊，惶惑猶巨，然未言辭，實吾之幸也；今蒙錯愛，彰愚作，表 訥言，有如隨、和。再拜恩。 Winners Testimonials I always consider myself as a serious writer of great value, while many people find my writings to be comedic, even laughable. I have been writing all kinds of plays and stories tirelessly for years now, but very few of them were widely recognized or even known to the general public. I have not made it into any “30 under 30” list and because of this, my parents are deeply disappointed and they hate me for not having a real job. I claim myself to be non-political, peaceful and nihilistic, yet every single piece of my work is dark, violent and blood-oozing: perhaps that’s why they don’t sell on the market. I love cats but only recently have I developed an allergy to their hair. You see, my life as a lone writer is full of contradictions and frustrations.

That being said, I have not quit writing, because from time to time, such recognitions as this WSDC award are truly a savior, like a beacon in the vast darkness, shedding light on a way out. For that, I

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would like to offer my sincerest gratitude to the organizers and the benefactors of this event. Thank you. 譯者介紹 淡

，本名劉雪

，作家，翻譯，人類學者，由中文網絡平臺上發表

的幽默作品而獲得廣泛關注，現正翻譯瑪麗蓮羅賓

的《萊拉》一

書，曾在北京大學和芝加哥大學攻讀人類學學位，作品常見於文學手 機應用「一個」。 Translator Dan Bao, born as Liu Xueting, is a writer, blogger, translator and a future anthropologist. She has gained wide attention for her humor writings on Chinese social media such as Weibo and Douban. She is currently working on a Chinese translation of Marilynne Robinson’s Lila . She has studied anthropology in Peking University and Chicago University. She is a frequent contributor to Han Han’s literature mobile application ONE.

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“Where go barren hills and turbulent rivers, where live the shrew and the obstinate.”

– A Chinese Idiom “He who fights with monsters should look to it that he himself does not become a monster... When you gaze long into an abyss and the abyss also gazes into you.”

– Friedrich Nietzsche

Set in the chaotic western region of China, Dirty Paws follows the life-changing

experiences

of

an

annoyingly

naive

aspiring

documentary filmmaker Tao, picking grapes in his father’s vineyard/winery with three child laborers, the treacherous Scarface, the warmhearted but gullible Skinny and the precocious Ma-Ye, under the supervision of the raving manager, “Boss”. As the danger 第一屆全球泛華青年劇本創作競賽得獎作品集

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of terrorism approaches, evilness rises in each one of them. It’s a story where civilization meets wilderness, the herbivore meets the carnivore, hypocrisy meets sensibility, and where terrorism destroys all.

The play is set in a vineyard & winery in Western Region (Xinjiang Uyghur Autonomous Region), China, at the present time. The winery’s name is never mentioned. The specific locations and time for each Scene are as followed.

Scene 1/Boss’s Office – A late summer/early autumn morning Scene 2/Brick House – Later that day Scene 3/Back of the Brick House – Later that night Scene 4/Grape Field – Several days later Scene 5/Brick House – Two days later Scene 6/Boss’s Office – A week later Mini Intermission/Banquet Hall – Five days later Scene 7/Banquet Hall – Later that evening Scene 8/Cellar – Later that night Scene 9/Cellar – Around midnight

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Tao, 24, male, a recent college graduate “Boss”, 58, male, manager of the winery Skinny, 15, male, worker Scarface, 15, male, worker Ma-Ye, 14, female, worker

“–“ (dash) indicates either a short but detectable pause or a quick response or comment in a conversation. “/“ (slash) is used when a sentence is interrupted or the dialogue is overlapping.

Lights on an office. A desk, two chairs, stacks of paper.

Although the fans, one hanged on the ceiling and one on the desk, are spinning, it seems the heat waves are intolerable for the young man, Tao, who constantly wipes sweat off his forehead. A much older man, the “Boss”, who is wearing an ill-fitting, odd-colored suit with shirt untucked, sits behind the desk, opposite Tao. 第一屆全球泛華青年劇本創作競賽得獎作品集

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A moment of silence.

Tao : I mean, what is the point of living your life in a concrete jungle when you can live in a real jungle? – To the government and media,

rural

areas

are

distressed

and

backward

while

urbanization is, indeed, a necessity. That’s where I find them terribly wrong. They’re deliberately ignoring the fact that with the heavy burden of such huge population, particularly the large number of oppressed working class people, this country will never reach the threshold. History has proved itself countless times that our souls are rooted in land, while the government is stubbornly selling “people’s” land for real estate development or manufacturing expansion, as if they are doing something for the greater good – to eradicate rural poverty. – We have no future.

That’s what I see, no matter how successful we have been in making “hot money” and playing “the awakening dragon” for the past few years. We have no future. (a beat ) I’m sorry – your question is?

Boss : I was only asking how your bus trip was.

Tao : Good. I mean, awful. It was awful. A chicken pooped on my shoe, and – the people here – seem to have no problems with 第一屆全球泛華青年劇本創作競賽得獎作品集

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open defecation.

Boss : Yeah, yeah. They are trash. (a beat ) So Tao, you graduate already? The film academy, is it?

Tao : Yes. Finally, six years. Can you believe that?

Boss : I can. – How is your father?

Tao : Good, I suppose. I don’t know. We are not talking to each other at the moment.

Boss : What happened?

Tao : He wanted to buy me a Cayenne.

Boss : A Cayenne?

Tao : The Porsche SUV. Devil’s asthma inhaler. Concubine’s saddle.

Boss : – What’s that?

Tao : With the air pollution and everything? I’m a vegetarian now.

Trying to save the planet.

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Boss : I don’t get it. What’s the problem?

Tao : The problem is I don’t want a new car. I don’t want to use his credit cards. I don’t want his beach house his yacht his collection of vintage Leica cameras his housemaids his personal assistant whose rouged cheeks, by the way, are like an ape’s warted ass. I don’t want his company. I don’t want his life.

Boss : Whoa whoa... Rewind please. What about the company?

Tao : He’s going to retire and leave the company to me.

Boss : His company. You know this winery is part of the company, right? And I have been managing it for – gosh, I don’t even remember how long.

Tao : Doesn’t matter. I’m not taking it.

Boss : (he thinks ) Okay. Okay. (a beat ) So you turned your father down for he tried to give you his company – Tao : And an overbearing glutton wagon. What’s the point? I don’t have mid-life crisis – 第一屆全球泛華青年劇本創作競賽得獎作品集

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Boss : Right, an expensive car, and a big load of money – Tao : And stocks. And his secretary – Boss : Stocks. Shares. Money and women. You don’t want anything to do with those but instead, you are here to “learn” picking grapes.

Tao : And making wine. But, yeah, that’s correct.

A beat.

Boss : Are you out of your fucking mind?

Tao : Sorry?

Boss : I mean it.

Tao : It’s for a documentary film project.

He takes out a camera and starts rolling.

Boss : A documentary? What the fuck? Turn it off. Turn it off now.

Do you work for the Television?

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Tao : No. Boss : ’Cause if you do – He sweeps documents into the drawer and lock it up.

Boss : (cont’d ) I run a very clean business here.

Tao : I don’t work for the television.

Boss : For the government? Justice department? Agriculture?

Development and Reform? Population and Family Planning?

Women’s Federation? Which Tao : No, I don’t – Boss : (to the camera ) I don’t falsify numbers. My tax money is never late. I don’t support separatist movement of any kind and I’m wholeheartedly loyal to the leadership of our Party. I have a Party standing of twenty-five years. I caught a mobster myself the other day. He tried to plant a bomb in my truck – Tao : I have nothing to do with the government whatsoever.

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Boss : Really?

Tao : I thought I made myself clear over the phone. I just graduated from college and I’m not enrolling in a graduate program just yet. I want to change the pace of my life for a bit. You know, to get my hands dirty. (proudly; pointing at the camera ) As for the reason of doing this documentary, I think I’m particularly interested in the winemaking business, since you know, it’s like a joke to see the arising middle-class in this country drink red wine with Sprite or Coke.

Boss man is a bit relieved and about to open a family-sized bottle of Coca Cola.

Boss : What’s the joke?

Tao : (noticing it ) No, there’s no joke in it.

A beat.

The man drinks directly from the bottle and then burps, loudly. When Tao tries to say something. He burps again.

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Tao : Uncle Li – Boss : Boss.

Tao : Sorry?

Boss : You – call – me – Boss, if you want to pick the goddamn grapes here.

Tao : Yes, sure.

Boss : Yes, sure, what?

Tao : Yes, sure. Boss. (a beat ) Is – um – Is picking grapes very hard?

Boss : Anyone with eyes, hands and shoulders can pick grapes.

Monkeys can pick grapes. Actually they’d do a better job. See my shoulder?

Tao : Yeah?

Boss : What do you see?

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Tao : Dandruff?

Boss : It’s broad. A workman’s shoulder.

Tao : Yes. Boss : See my hands?

Tao : Yes. Boss : What do you see?

Tao : They’re broad.

Boss : They’re thick, rough, and – Tao : Yes, sure they are.

Boss : Let me see yours.

Tao : Palm reading?

Boss : Yes. Tao : What do you see? 第一屆全球泛華青年劇本創作競賽得獎作品集

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Boss : (looks up, then pushes away his hands ) Pale, soft and you bruise like a peach.

Tao : So – what do you say – Boss?

Boss : Honestly?

Tao : Honestly.

Boss : Honestly at this point, I’d take anyone who could pick his goddamn nose. We have a good year, but the local Uyghurs think they are too good to be picking grapes. They got themselves hooked up on making explosives and setting fires.

Tao : What about my documentary film?

Boss : What about it?

Tao : Can I do it?

Boss : What’s it going to be about?

Tao : Uh – I don’t know yet. But I’m dying to find out.

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Boss : I don’t give a fuck about your film as long as you don’t bomb up my winery, what you do in your free time is not my goddamn business. (a beat ) One more thing. Do I pay you?

Tao : It’s only logical. You see, the whole idea is about me, an urban boy, sprinkling sweats, blood and youth in the field, working with my own bare hands.

Boss : You will see much blood for sure.

Tao : Good.

Boss : Good.

Lights shift.

When Tao thinks the meeting is over and goes to leave, Boss walks up to him, spits on his palm and reaches out that hand. Tao freezes for a bit, and then spits too but reluctantly. They shake hands.

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貳獎作品《 片》劇本

爪，或如何拍一部了不起的紀錄

編劇／趙秉昊 翻譯／淡

「窮山惡水，悍婦刁民。」 ──中國

語

「與惡龍纏鬥過久，自身亦成為惡龍；凝視深淵過久，深淵將回以凝 視。」 ──弗裡德裡希．尼采

劇情簡介 中國西域邊疆，一個天真到令人討厭的年輕人陶冶在他父親的葡萄酒 莊裡勞動，並希望拍攝一部紀錄片。在採摘葡萄的日子裡，他結識了 三個童工：詭詐的「

臉」，熱心卻總上當的「

葉」，他們幾人在總滿懷憤懣的「老 近，惡在他們每個人的心中萌芽。

子」和早熟的「馬

」的監工下做活。當危險臨 是一個關於文明與野蠻、草食者

與肉食者、虛偽與人情的故事，而最終，恐怖摧毀了一切。

舞臺說明

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本劇發生於如今的中國西部地區，一家位於新疆維吾爾族自治區的葡 萄園和酒莊。酒莊名字從未出現。各場具體地點時間，如下所示： 第一場，「老

」的辦公室，夏末初秋的某個上午

第二場，磚房，當天

些時候

第三場，磚房背後，當天夜裡 第四場，葡萄園，幾天後 第五場，磚房，兩天后 第六場，「老

」的辦公室，一週後

短暫的中場休息，宴會廳，五天後 第七場，宴會廳，當天

上

第八場，地窖，當天夜裡 第九場，地窖，午夜時分

角色介紹 陶冶，24歲，男，新近從大學畢業 老

，58歲，男，酒莊經理 子，15歲，男，工人 臉，15歲，男，工人

馬葉，14歲，女，工人

注

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「–」：指短而可辨的停頓，或對話中的迅速回應。 「／」：在一句話被打斷，或對話重疊時使用。

第一場 【辦公室裡，燈亮著。一張

子，兩把椅子，一疊紙。】

【懸掛於天花板的吊扇正在旋轉，擺在

子上的一架電風扇也開著，

但陶冶似乎仍然難以忍受屋內的熱浪。他不斷擦拭前額的汗。老 陶冶年紀大得多，他 進

子裡。他坐在

比

著一件不合身、顏色古怪的西裝，襯衫沒有掖 子後，面對陶冶。】

【片刻靜默。】 陶冶 ：我的意思是，假如你可以在真正的叢林裡生活，那在混凝土的 叢林裡生活有什麼意義

？–在政府和媒體眼中，農村貧困、落

後，而城市化是必要措施。我認為他們大錯特錯。他們 迴避事實，

是有意

農民階級數量

個國家人口基數龐大，尤其是受壓迫的底層工人、 多，伴隨著如此

重的負擔，那條所謂的基準線

我們永遠也達不到。歷史已經無數次證明，我們的精神植根於土 地，而政府卻堅持將所謂「人民的」土地賣給房地產開發商，或 第一屆全球泛華青年劇本創作競賽得獎作品集

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拿去發展製造業，就好像那能有益於人民–好像那就能根除農村 的貧困問題。–我們沒有未來。

就是我的看法，無論過去

年我們賺了多少「熱錢」，怎樣自以為「

些

條東方巨龍已經醒

來」了。我們沒有未來。 【停頓】對不起– 老

：我只是問你

剛才問什麼？

一路坐車順利

？

陶冶 ：還行。 【停頓】我是說，不怎麼樣。一路上都不怎麼樣。有隻雞在我鞋 上拉屎，而且–

兒的人–好像在公

場所大小便一點兒都不害

。 老

：沒錯。都是

。

【停頓】所以，陶冶，你已經畢業了？電影學院，是吧？ 陶冶 ：總算畢業了，六年。信 老

？

：你？我信。–你爸怎麼樣？

陶冶 ：還行，我猜。我不知道。我們最近沒聯繫。 老

：咋了？

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陶冶 ：他想給我買輛卡宴。 老

：卡宴？

陶冶 ：就是保時捷SUV。二 老

：–

。

？

陶冶 ：空氣 老

專座。大煙

染到

程度──我現在已經改吃素了。保護地球。

：我沒聽明白。有

關係？

陶冶 ：關係是我根本不想要新車。我不想用他的信用卡。不想要他的 海濱別墅他的遊艇他收藏的古董萊卡相機他的傭人他的私人秘 書–那秘書的紅臉蛋就像長了膿包的猴屁股。我不想要他的公 司。我不想要他的生活。 老

：【

了口水】呵……呵……倒回去點兒。你說公司咋回事兒？

陶冶 ：他要退休了，要把公司留給我。 老

：他的公司？你知道

酒莊是公司的一部分，對吧？而我是

兒

的經理–

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陶冶 ：無所謂。我不會要 老

個公司的。

：【在想】好。好。 【停頓】所以你拒

了你爸，因為他想把公司交給你–

陶冶 ：加上一台耗油量大得出奇的車。

有什麼意義？我又沒有中年

危機– 老

：

，一台

錢的車，加上一大筆錢–

陶冶 ：還有股票。還有他的秘書– 老

：股票。股份。錢和女人。 來

些東西你一點兒都不想要，你反倒

兒，來「學」摘葡萄。

陶冶 ：還有釀酒。不過，是，你說的對。 【停頓。】 老

：你他媽的瘋了

？

陶冶 ：怎麼了？ 老

：我是認真的。

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陶冶 ：

是為了拍一部紀錄片。

【他拿出一架攝像機，開始錄。】 老

：紀錄片？

他媽

什麼？關掉。現在就關掉。你

是給電視臺

拍？ 陶冶 ：不不。 老

：要是的話，你看– 【他把

面上的文件全掃進了抽

，鎖上】我的生意可都是乾乾

淨淨的。 陶冶 ：我不是給電視臺拍的。 老

：那是給政府？工商局？農業部？發改委？糧油司？打假辦？計 生委？婦聯？

個

陶冶 ：不是，我不是– 老

：【對著鏡頭】我沒做過假帳。交稅從來沒 任何形式的疆獨，對黨的領導

過一天。我不支持

對忠心。作為一個黨齡二十五年

的老黨員，我還自己抓過一個暴徒，他想在我卡車裡放炸彈–

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陶冶 ：我跟政府一點兒關係也沒有。 老

：真的？

陶冶 ：我以為我在電話裡已經說明白了。我剛從大學畢業，現在還沒 讀研究生。我想改變一下生活的節奏。你知道的，讓手上沾點兒 土。 【驕傲地；手指攝像機】至於拍

部紀錄片的原因，我是對釀酒

業有特殊興趣，因為，你知道，看到

個國家的新興中產階級往

紅酒里加雪碧或可樂，簡直太可笑了。 【略微放鬆下來的老 老

：

正要打開一瓶家庭裝可口可樂。】

裡可笑？

陶冶 ：【注意到了】沒什麼可笑的。 【停頓。老 什麼，老

直接對著瓶口喝可樂，又打了個響亮的

又打了個

。陶冶想說些

。】

陶冶 ：李叔– 老

：叫老

。

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陶冶 ：什麼？ 老

：在

兒–你得–叫–老

，要是你想在

兒幹活。

陶冶 ：好的。 老

：好的，然後

陶冶 ：好的，老

？ 。

【停頓】摘–唔–摘葡萄難 老

？

：無論什麼人，只要長了眼睛、手、肩膀，就能摘葡萄。猴子都 能摘葡萄。其實猴子摘得還更好

。看到我肩膀了

？

陶冶 ：看到了。 老

：你看到了什麼？

陶冶 ：頭皮 老

？

：【當沒聽見】看

肩膀

的。

是幹活兒人的肩膀。

陶冶 ：對，對。 老

：看到我手了

？

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陶冶 ：看到了。 老

：你看到什麼了？

陶冶 ：看 老

：

手

的！

手厚實，粗，而且還–

陶冶 ：是，當然了。 老

：給我看你的手。

陶冶 ：要看手相？ 老

：就看看。

陶冶 ：看見什麼了？ 老

：【抬起頭，把他的手推開】又白又軟，一按就出瘀了，跟桃子 似的。

陶冶 ：那–那怎麼樣 老

–老

？我在

兒幹活的事兒？

：說實話？

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陶冶 ：說實話。 老

：說實話，現在

時候，無論什麼人，只要會

摘葡萄了。今年我們收成好，但 兒。他們忙著做炸彈、放火

鼻子，我都雇來

些維族人看不上摘葡萄

活

。

陶冶 ：那我的紀錄片怎麼辦？ 老

：什麼怎麼辦？

陶冶 ：我可以拍 老

？

：你到底打算拍什麼？

陶冶 ：唔–我還不知道。可能拍著拍著就知道了。 老

：我他媽不管你電影那些破事，只要你別把我酒莊給炸了。你平 時自己幹嘛，跟我一點兒關係沒有。 【停頓】還有件事。我要付你工資

陶冶 ：顯然得啊！你看，整個

？

件事的關

是，我，一個城裡來的富

家子弟，在田裡白手勞動，揮汗如雨，播灑青春和鮮血──我就 打個比方。

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老

：血，你是能看到不少。

陶冶 ：什麼？ 老

：好吧。歡迎。

【快速換景。】 【陶冶以為會面已經結束，但他離開時，老 掌心吐了口唾沫，又向陶冶伸出手。陶冶

走到他面前，向自己手 了一下，有些猶豫地也衝

自己手心吐了一口唾沫。他們握手。】

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獎作品《拳難．拳難》作者簡介／

王健任 高雄人，畢業於中山大學劇場藝術學系，現就讀於台北藝術大學劇場 藝術創作研究所劇本創作組。 Chien-jen Wang

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Chien-jen Wang is from Kaohsiung. He graduated from the Department of Theatre Arts, National Sun Yat-sen University, and is currently at the Graduate Institute of Theatre Performance and Playwriting, Taipei National University of the Arts. 獲獎感言 關於

個劇本，我最想要感謝的是北藝大103級劇創組的同學們，每個

人的創作以及意見都給了我很大的刺激，如果不是跟你們一同書寫， 我想今天我

對不會完成

個劇本；感謝邱坤良老師，老師

來的指導讓我的眼界變得更開闊；感謝呂柏伸老師，

一年以

當年的鼓勵我

銘記在心；感謝無償讀劇給我聽的友人們；最後感謝的是對於我奮不 顧身的回到學校、進行創作

件事情不

沒有任何怨言，而且總是在

背後默默支持我的家人們，真的謝謝你們。 Winners Testimonials For this particular play, I would like, most of all, to thank my classmates of Class 103, at the Graduate Institute of Theatre Performance and Playwriting, Taipei National University of the Arts.

Each of your works and critiques have given me great inspiration; I completed this play because I wrote in your company. I thank my teachers - Kun-liang Chiu, who widened my horizons with 第一屆全球泛華青年劇本創作競賽得獎作品集

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instructions in this past year, Po-shen Lu, whose encouragements I have kept in mind, and friends, who constantly read my plays to me.

Lastly, to my family, who uttered no reproaches, but instead, supported me quietly as I fervently pursued my creative career and returned to school, I truly thank you. 譯者介紹 張結星擁有新加坡國際大學文科和哥倫比亞大學碩士學位，是一名曾 提過名的演員，而且

是潔影製片和Teo

&

Tsering翻譯公司的創辦

人，現行走與紐約和新加坡之間。 Translator Kiat-sing Teo has a BA from National University of Singapore and an MFA from Columbia University. A nominated actor, she is also the founder of Pure Pictures Productions and Teo and Tsering Translations. Kiat-sing Teo travels between New York City and Singapore.

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獎作品《拳難．拳難》劇本

編劇／王健任 翻譯／張結星

劇情簡介 1900年六月，北京西什庫教堂被成千上百的義和團員給團團包圍，那 裡頭

藏了兩千多名的教民，他們在資源極度匱乏的情況之下支

整整個兩個月，圍人的、被圍的，卻都被困在 自問，卻沒有答案。

了

裡了。為什麼？他們

1900年八月，八國聯軍出現打破僵局，在殘破

的、宛如末日景象的北京街頭，有人在街上看到一隻狐狸，看起來並 不怕人，不管走得多近，

就只是靜靜的站在那邊看著，一動也不

動。

舞臺說明 由導演自行發揮與想像。

角色介紹 敘事者Ａ 敘事者Ｂ 敘事者Ｃ 敘事者Ｄ 第一屆全球泛華青年劇本創作競賽得獎作品集

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敘事者Ｅ

ＡＢＣＤＥ ：一九零零年，八月，北京街頭。 Ｂ ：我在街上看到一隻狐狸， 不管我走得多近，

嘴邊

著一塊肉，看起來並不怕人，

就只是靜靜的站在那邊看著我，一動也不

動。 Ｃ ：那是八國聯軍有如蝗蟲一般過境之後沒多久。 Ｄ ：還有義和團，一切都是從他們開始的。 Ｅ ：我以為是從天津教案開始的。 Ａ ：不是從利瑪竇傳教進中國開始的 Ｂ：

？

麼遠，我還說是從黃帝大戰蚩尤開始的

Ｃ ：然後那隻狐狸

了

頭，

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！

帶著我們來到西什庫教堂的門口。

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Ｄ ：現在人去樓空，只剩殘垣斷壁。 Ａ ：當時負責防守的士兵

有四十人左右，擔任指揮官的是年輕的義

大利水兵中尉奧維利，事發當時，裡頭的神職人員達數十人之 多，其中法國傳教士十三人，女傳教士二十人，逃避義和團捕殺 而

進教堂避難的中國男性教徒一千多人，婦孺人數則達二千二

百人以上。 Ｂ ：曾經有三千多人塞在

裡，受到外圍數千義和拳民所包圍，他們

死守教堂大門，度過了人生最漫長的兩個月。 Ｃ

：最後平安離開

裡的

有二千五百人，而在那五百個犧牲者當

中，有四百名教民、七十六名小孩、法兵四人、義兵五人。 Ｄ ：事件發生的

兩個月，狐狸就站在北京郊區的丘陵之上，

旁觀，看著、看著、看著。

冷眼

看得出來大家都很餓，不管是教堂

裡的那些人，或者是教堂外的那些人都很餓。起初

猜想人類之

所以互相殘殺，就是為了把對方當成糧食吃掉，原來人類可以吃 自己的同類，真是不簡單。 Ｅ ：但似乎又不是

樣，因為漸漸的，有人

不下去了、餓死了，吃

人的場面卻從來不曾被狐狸所目擊，那他們究竟是為了什麼而殺 害對方？又是為了什麼而在那邊僵持不下？狐狸自己可以花時間 第一屆全球泛華青年劇本創作競賽得獎作品集

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守在樹洞的旁邊一動也不動，但那是為了食物，而人類花上幾個 月的時間守在教堂的旁邊？簡直不可理 Ａ ：狐狸看到，有人試圖

出來，死了。

Ｂ ：狐狸看到，有人試圖

進去，也死了。

。

Ｃ ：那些待在裡面的，有人餓死了；那些待在外面的，被後來來得一 大群

得五顏六色的人給殺得落荒而逃。

Ｄ ：還有爆炸，很多人死了，其中大部分是小孩。 是

看了老半天，還

不懂人類到底在玩什麼把戲。

Ｅ ：狐狸很好奇，

覺得人類，實在很有意思。

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In June of 1900, hundreds of Yihetuan members lay siege to the Beijing Xishiku Church where more than 2000 church members had sought refuge. They survived for two entire months under dire shortage of supplies. The besiegers and the besieged were both trapped in this place. “Why?” they questioned themselves, but found no answers.

In August of 1900, the Eight-Nation Alliance came on the scene to break this deadlock. In the savaged streets of post-apocalyptic Beijing, someone spotted a fox. Quietly it stood, observing and not moving at all, seemingly unafraid of humans, however close they approached.

Left to the director’s imagination.

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NarratorＡ NarratorＢ NarratorＣ NarratorＤ NarratorＥ

ＡＢＣＤＥ : August, 1990. The streets of Beijing. Ｂ : I saw a fox in the street. It had a chunk of flesh in its mouth, and looked as if it had no fear of men. No matter how close I approached, it simply stood quietly, watching me, not moving at all. Ｃ : That was right after the Eight-Nation Alliance swarmed across the land like locusts. Ｄ : Don’t forget the Yihetuan. Everything started with them. Ｅ : I thought it started with the Tianjin Massacre.

第一屆全球泛華青年劇本創作競賽得獎作品集

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Ａ : Didn’t it start with Matteo Ricci’s missionary work in China? Ｂ : That’s so far back, I might as well say it started with the great battle between the Yellow Emperor and Chiyou! Ｃ : Then, the fox beckoned with its head, and led us to the gates of Xishiku Church. Ｄ : Which is vacant and empty now, nothing but ruins left. Ａ : At that time, only 40 soldiers or so guarded the church. The young Italian marine lieutenant Oliviera was in command. At the time of the incident, there were some dozens of clerics within; 13 French missionaries; 20 female missionaries; more than a thousand male Chinese believers who sought refuge from the Yihetuan’s pursuit; and as many as 2200 women and children. Ｂ : Besieged by thousands of Yihetuan members, some 3000 people were once crammed in here. They defended the church gates in desperation throughout the two longest months of their lives. Ｃ : In the end, only 2500 people walked away from this place.

Among the 500 who perished, there were 400 parishioners, 76

第一屆全球泛華青年劇本創作競賽得獎作品集

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children, four French soldiers and five Italian soldiers. Ｄ : During those two months, the fox stood on the hill at the outskirts of Beijing, coldly observing. Watching. Watching. Watching. It could see that everyone was very hungry. Whether within or outside of the church, everyone was very hungry. At first, it thought that the humans were killing one another to consume as food – ah, so men can actually eat their own kind! How extraordinary! Ｅ : But this was not the case. Gradually, some of them could endure no longer and starved to death; even so, the fox did not witness any cannibalistic behavior. Why, then, were these men killing one another? What were the reasons for this stubborn deadlock?

The fox might remain motionless for a long time by a tree hole, but that was for food. Why would these humans spend months waiting by a church? That is unimaginable. Ａ : The fox saw those who tried to escape die. Ｂ : The fox saw those who tried to charge inside die too. Ｃ : Among those who stayed within, some starved to death. As for 第一屆全球泛華青年劇本創作競賽得獎作品集

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those who stayed outside, they were attacked and chased off by a large group of latecomers in colorfully outfits. Ｄ : There was also the explosion, with many deaths. The majority of those were children. The fox observed for a very long time, but it could not understand what game the humans were playing at. Ｅ : The fox was curious. It felt that mankind was, indeed, very interesting.

第一屆全球泛華青年劇本創作競賽得獎作品集

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附錄 「全球泛華青年劇本創作競賽得獎作品讀 劇藝術節」劇照＆影音／

劇照／ 首獎作品《異

記》／

第一屆全球泛華青年劇本創作競賽得獎作品集

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貳獎作品《

爪，或如何拍一部了不起的紀錄片》／

第一屆全球泛華青年劇本創作競賽得獎作品集

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第一屆全球泛華青年劇本創作競賽得獎作品集

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獎作品《拳難．拳難》／ 第一屆全球泛華青年劇本創作競賽得獎作品集

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第一屆全球泛華青年劇本創作競賽得獎作品集

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第一屆全球泛華青年劇本創作競賽得獎作品集

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影音／ 敬請注意：本附錄影片均為外部連結，必須在網路連線狀況下 才可觀賞。請點按下圖開始播放。

首獎作品《異

記》／

讀劇演出／

演後座談分享／

第一屆全球泛華青年劇本創作競賽得獎作品集

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第一屆全球泛華青年劇本創作競賽得獎作品集

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貳獎作品《

爪，或如何拍一部了不起的紀錄片》／

讀劇演出／

演後座談分享／

第一屆全球泛華青年劇本創作競賽得獎作品集

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第一屆全球泛華青年劇本創作競賽得獎作品集

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獎作品《拳難．拳難》／ 讀劇演出／

演後座談分享／

第一屆全球泛華青年劇本創作競賽得獎作品集

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第一屆全球泛華青年劇本創作競賽得獎作品集

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版權 《表演臺灣彙編：劇本，設計，技術， 戲劇劇本館 集》

∼》

《第一屆全球泛華青年劇本創作競賽得獎作品

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／桃園市中

區中大路300號

電話／(03)426-4805 傳真／(03)426-4805 信箱／theatre@ncu.edu.tw 總編輯／周慧玲 執行編輯／李易修 執行編輯／詹傑 執行編輯／蔡菁芳 作者／朱宜、趙秉昊、王健任 英文翻譯／劉微明、淡

、張結星、許恬瑛、蘇玨于

英文校對／劉微明、許恬瑛、蘇玨于 攝影／陳又維 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／2016年11月 再版 定價285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/9789860473858(ePub)

第一屆全球泛華青年劇本創作競賽得獎作品集

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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 District, Taoyuan City 32001, Taiwan (R.O.C.) Phone/+886-3-426-4805 Fax/+886-3-426-4805 Email/theatre@ncu.edu.tw Editor in Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan Executive Editor/Ching-fang Tsai Playwright/Zhu Yi, Zhao Binghao, Chien-jen Wang Translator/Wei-ming Liu, Dan Bao, Kiat-sing Teo, Tien-ying Hsu,

第一屆全球泛華青年劇本創作競賽得獎作品集

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Chueh-yu Su Proofreader/Wei-ming Liu, Tien-ying Hsu, Chueh-yu Su Photographer/Yo-wei Chen Legal Consultant/Yo-chi Li Digital Production/Puomo Digital Publishing & Marketing, LLC. Publication Date/November 2016, second edition Suggested Retail Price/NT$285 © Copyright Performance Center at National Central University, 2015. All rights reserved.

Please contact us for any mistakes or missing content in the book. e-ISBN/9789860473858(ePub)

第一屆全球泛華青年劇本創作競賽得獎作品集

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