目錄／
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15.
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封面／Book Cover 目錄／Content 總編輯的話／From the Editor in Chief 導言／Introduction (English)／Introduction (Français) 編導創作者自序 《大神魃》臺北首演版劇本 The Drought Goddess Script (Taipei premiere version) 《大神魃》亞維儂巡演版劇本 Le Script de La Grande Déesse de la Sécheresse (Version de la représentation à Avignon) 附錄1 影音精選／Video Clips 附錄2 劇作家簡介與創作年表 附錄3 首演資 附錄4 延伸閱讀與迴響報導 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
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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 大神魃
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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
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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 大神魃
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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 大神魃
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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 大神魃
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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 大神魃
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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 大神魃
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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 大神魃
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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 大神魃
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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 從斷簡殘
到「完全表演」的流浪神話
文／周慧玲（主編）
《大神魃》首演於2008年。六年之後，電子書的出版形式，終於能 提供觀者一個全面閱讀平台，好生容受
個包含了原創音樂、原創語
言、原創水墨動畫的特殊舞臺作品。 作者回顧當初，說《大神魃》是受虐兒的人生體驗，我卻覺得
是一
個關於流浪的故事。首演版本的《大神魃》只有流浪的旅程，沒有終 點。在
個版本裡，流浪從旱魃和精衛相遇揭開序幕，緊接
個序幕
的，是舞臺上的動畫序幕，揭開另一個已經來到故事末端的毀滅蠻 荒。於是，一個序幕揭露另一個結尾般的序幕，找不到故事出口的觀 者，自此開始看著不斷問著沒有答案的問題、找不到回家之路的旱 魃，一路探路、流浪。正當看
面對著敘事和情節兩頭落空，另一個
新的觀劇挑戰接踵而來：語言音樂天賦奇佳的導演，竟然從四個漢語 方言裡，自行創造了另一個全新的所謂神明的語言。天機不可洩漏？ 越是如此陌生，觀者似乎反而越能忘記前面的挫折，努力在演出的時 間裡，累積聽的經驗，建立辨識的邏輯，嘗試聽懂天機。突然間，新 創語言造成的觀劇障礙，弔詭地逆轉成爲演出形式的優勢， 大神魃
著觀者 潑墨書房
靜心領會。 當然，並不是每個障礙都自然可以逆轉爲優勢的。《大神魃》整體作 品對於創意和完整性的追求，在文本之外，開展了一
悅耳的原創
音樂，讓新創語言融入其中，觀劇者因此獲得聽的愉悅。背景的水墨 動畫更儼然另一個完整作品，童趣滲著神機似地，
說道崑崙世界
盡頭的無人洪荒。因此，儘管神魃的流浪沒有盡頭，儘管神魃世界的 語言令人難以參透，觀者在情節、聲音、音樂、動畫之間流浪，猶自 能找到慰藉，一如神魃遇上的精衛，雖然對方狠意無盡頭，猶然是神 魃最大的依靠了。 如果首演版本的《大神魃》最動人處，是雌雄不分的禿毛女旱神，尋 不著聚落認同的流浪，那
一年後的《大神魃》法文演出修改版本最
吸引人處，便是為了讓法國觀 斷簡殘
易於理解而彌補首演版本以華人神話
爲結構的敘事調度，改採說書人的敘事形態，使得動畫和人
物情節更加緊密結合，互為表裡。雖然我不曾看過
個版本，但從劇
本閱讀看來，原本是旱魃的寂寞流浪，遇到了填海千年的精衛， 認識 了那一腔填不盡的一恨海，又踏上 為你我，講訴一
萊邁入兩忘，最終遺忘和創世互
動人的存在。
因為《大神魃》本身開展了戲劇、聲音、水墨動畫等多元的表演形 式，因為它在說故事之餘，又以斷簡殘 它經歷不同的觀 大神魃
社群而有了精
質問崑崙宇宙的樣貌，因為
的歷史，
個演出創作，很不容易 潑墨書房
在一次觀劇經驗中盡全貌。綜合了影音表演文本的電子書，約莫是 個世紀獻給表演藝術最好的新的舞臺吧。讀者看
或可在
個不同的
表演藝術載體上，認識一個原創的「完全表演」（total performance）。
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The Drought Goddess premiered in 2008. Six years later, the composite platform of e-book has finally enabled us to present all aspects of this unique piece of stage work, including its original music, language, and animation in Chinese ink-and-wash painting style. Looking back, the playwright said that The Drought Goddess is the life and experience of an abused child. I, on the other hand, see it as a story about wandering. The premier version of the play only shows the progress of wandering, but not the destination. In this version, the wandering begins with the encounter between Han-pa and Jing-wei. Immediately after this scene, the projected animation sequences also begin, depicting a wild, devastated landscape, seemingly at the end of a story. In this way, one beginning feeds into the other beginning (which feels like an end,) and the audience is stuck between the two, 大神魃
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without a way out of the stories. From here, the audience witnesses Han-pa in her wandering journey of discovery, as she asks questions without answers and fails to find the way home.Just as the audience reels from the lack of resolution in the plot and narrative, another challenge arrives: the director, with his mastery of languages and music, has created a whole new so-called “godly” language out of four Chinese dialects. I suppose, as the saying goes, “The mysteries of heaven cannot be revealed.” Interestingly, it seems that the less familiar the content, the more easily the audience is able to disregard the initial setbacks at the beginning of the play. Instead, the viewers begin striving to build up listening comprehension, establish their own logic of identification, and decode the “heavenly mysteries.” Suddenly, the viewing obstacle created by the unfamiliar language paradoxically becomes the advantage of the performance form, forcing the viewers to concentrate and absorb the material. Naturally, not every obstacle can easily be turned into an advantage. In his pursuit of creativity and completeness, the playwright of The Drought Goddess also composed beautiful music to go with the text, incorporating the made-up language, for the aural pleasure of the audience. Additionally, the ink-and-wash painting animation in the backdrop can be seen as an independent piece of art. With its 大神魃
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childlike charm spiked with mystery, the animation speaks of an empty wilderness at the end of the world. Therefore, while there is no end to Han-pa’s travels, and the language of her world cannot be comprehended, the viewers can still find solace in their own wandering amongst the plot, voices, music and animation. Just like when Han-pa meets Jing-wei—even when Jing-wei is consumed by overwhelming hate, he is still the best support Han-pa can find. If the most touching aspect of the premier version of The Drought Goddess lies in the wandering of the androgynous, bald goddess as she fails again and again to belong, the most enchanting element of the Avignon version, created one year after the premier, would be this: To make the story more accessible for the French audience, the playwright filled out the original narrative structure of broken chapters of ancient Chinese mythology and added a narrator, so that the animation and the plot became even more closely linked. While I did not see the Avignon performance, from reading it, I can envision an engaging journey: Han-pa’s lonely trek is changed by her encounter with Jing-wei the ocean-filler, through whom she learns of a bottomless hate; she steps into Peng-lai, into a long period of oblivion, and finally emerges with the dual nature of forgetfulness and genesis, one feeding to the other. 大神魃
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The Drought Goddess opens a door to a multi-faceted performance mode encompassing such elements as theatre, aural performance and ink-and-wash painting animation. Aside from storytelling, the play also questions the shape of the cosmos of ancient Chinese mythology with its “broken chapters” structure. Since the play has undergone drastic shifts in its audience demographic, it now has a history of refinement. From all reasons mentioned, this is a difficult piece of art to experience thoroughly in one single performance. An e-book, with its compilation of the audio, visual and texts of a performance in one edition, is probably the best new stage this century has to offer to the performing arts. Dear readers, perhaps you could use this unique performing arts platform to get to know this innovative “total performance.”
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La première représentation de La Grande Déesse de la Sécheresse a eu lieu en 2008. Six ans plus tard, grâce au support du livre numérique, nous pouvons enfin offrir aux spectateurs un moyen de lecture qui intégre les différentes composantes de ce spectacle singulier, une œuvre dotée de la musique originale, de la langue d’origine et des fonds d’animation originaux faits à encre. L’auteur se rappelle qu’à l’origine, La Grande Déesse de la Sécheresse était compris comme le vécu d’un enfant maltraité. Mais pour moi, c’est l’histoire d’une errance. La première version retrace uniquement les récits de son errance sans point d’aboutissement. Dans la présente version, l’errance débute au commencement de la pièce avec la rencontre de Han-pa et Jing-wei. Ce préambule est accompagné
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d’une animation numérique qui annonce la une autre histoire : celle de la destruction du monde et le retour à l’état sauvage. Ainsi, un préambule nous amène aux confins d’un autre, et les spectateurs qui ne parviennent pas à trouver l’issue de l’histoire, fixent dès lors leur regard sur Han-pa qui n’arrête pas de poser des questions sans réponse, qui ne trouve pas le chemin du retour, cherche son chemin dans la errance. Pendant que les lecteurs affrontent le vide créé par le récit et l’intrigue, un autre défit théâtral s’impose : ce metteur en scène, doté d’un grand talent linguistique et musical, a créé un langage nommé l’idiome des dieux à partir de quatre dialectes chinois. Le secret divin ne doit-il point être divulgué ? Plus cela leur semble étranger, plus les spectateurs en oublient la frustration antérieure, ils s’efforcent tout au long de la représentation d’engranger les expériences acoustiques, de construire une logique cognitive, et tentent de comprendre le secret divin. Soudain, l’obstacle à la compréhension du spectacle créé par ce nouveau langage, tourne paradoxalement à l’avantage de la performance et pousse les spectateurs à méditer pour comprendre. Certes, ce n’est pas chaque obstacle qui peut naturellement se transformer en avantage. Outre le texte en lui même, par la recherche d’originalité et d’intégrité de l’œuvre La Grande Déesse de la 大神魃
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Sécheresse, se déploit une musique créative agréable à l’oreille, intégrant en son sein ce langage nouveau, ce qui procure aux spectateurs un plaisir auditif certain. Les animations à l’encre d’arrière plan constituent une autre œuvre à part entière, s’infiltre de façon enfantine tel un mystère divin, relatant le chaos primitif au fin fond du monde, au mont Kun-lun. Ainsi, bien que l’errance de Hanpa soit sans fin, bien que la langue du monde des dieux et démons soit difficile à appréhender, les spectateurs errent au travers d’intrigues, des voix, de la musique, de l’animation, et parviennent encore à y trouver un réconfort, tout comme lorsque Han-pa rencontre Jing-wei, malgré sa haine sans limite à l’égard de ce dernier, il reste le plus grand appui de Han-pa. Dans la première version de La Grande Déesse de la Sécheresse, le point le plus émouvant était l’errance de cette déesse chauve et asexuée qui ne parvient à trouver personne voulant bien l’accueillir. Un an plus tard, la version française de La Grande Déesse de la Sécheresse a été modifiée, et ce qui y est le plus intéressant,: , c’est que pour permettre une meilleure compréhension au publique français, la version originale a été complétée, passant d’un mythe chinois fragmenté à une narration structurée, utilisant alors un narrateur pour décrire la situation, et resserrant encore plus le lien 大神魃
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entre les animations projetées et la performance des acteurs, devenant ainsi les deux facettes d’une même réalité. Bien que je n’aie pas vu la représentation de cette version, à la lecture du script, il s’agit au départ d’une existence, d’une histoire émouvante, celle de l’errance solidaire de Han-pa, de sa rencontre avec Jing-wei cherchant à niveler une mer de haine impossible à ragréer, puis de son arrivé sur l’île des Immortels où elle perd tout souvenir, pour enfin que cet oubli et la création du monde deviennent réciproquement le toi et le moi. Du fait que La Grande Déesse de la Sécheresse développe plusieurs formes d’expression : théâtrale, musicale et les animations à l’encre ; du fait que dans sa narration, la pièce utilise des scènes fragmentées pour scinder l’univers de Kun-lun; du fait que cette pièce a connu de différents publics et donc a été retouchée, il est pour ces raisons difficile à appréhender intégralement en une seule fois. Le livre numérique réunit le livret de la pièce et sa version audio visuelle, c’est là, sans aucun doute, la meilleure scène offerte en ce siècle aux arts du spectacle. Grâce à ce support multi-disciplinaire, les lecteurs et les spectateurs peuvent appréhender une œuvre originale de « total performance ».
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《大神魃》臺北首演版劇本 大神魃編劇、導演／李易修 劇情簡介： 中國神話故事因為缺乏完整的記錄，經常只留存下一些「斷簡殘 編」，而部份的故事之間更有著邏輯上的衝突，神話譜系較不清晰。 旱魃的故事最早被記載在中國上古的神話奇書《山海經》之中，
是
黃帝的女兒天女魃，不受人類喜愛的旱災之神。天女魃因為致旱的神 力協助父親打贏戰爭，卻被父親和
神遺棄在人間，無法回到
位於
天上的家「崑崙神山」。 《大神魃》延續
一則短短的神話記錄，並且採用「斷簡殘編」的形
式，重點標示出旱魃返
尋根之旅所發生的故事。在
魃遇見了其他的神明、妖怪以及人類， 趕，最後還被封印在世界的盡頭「 來臨
才
醒。
受盡了
諷，被欺
、驅
萊」，直到千萬年之後世界末日
時，所有的生靈、神明、妖怪早已死盡，旱魃是世
界上最後的神明。在千萬年的流浪後，面對生靈死 感到寂寞，
旅程中，旱
的世界尤其令
可以使用自己的力量創造出一個新的世界，但是，
心新世界最終還是會充滿背
與
言，因而舉棋不定……。
除了標示出章節的主線劇情之外，尚有另一線以繪本為主的短 大神魃
擔
動畫 潑墨書房
插其中，將世界從創生到毀滅的過程以倒敘的方式呈現。 舞臺說明： 舞臺像是一本神話故事書──展開的中國式
軸──以純然黑白的水
墨所描繪出的山水、人物，以及書法，共同完成 2D 的平面視覺風格。 語言說明： 本劇所有臺詞都是以自創的「上古神話語言」發音，
「神話語言」
是由各種漢語方言組合並且變形後發展出來的，所使用到的方言包含 「閩南話」、「客家話」、「蘇州話」、「廣東話」。
主要角色及神話名物介紹 旱魃 旱魃是黃帝的女兒，為旱災女神，傳說中 在本劇中，
著青色的衣服，禿頭。
手持一把千瘡百孔的破紙傘，四處尋找回到天上的方
法。 經典原文及出處： 大荒之中，有人衣青衣，名曰黃帝女魃。蚩尤作兵伐黃帝，黃帝乃命 應龍攻之冀州之野。應龍蓄水，蚩尤請風伯雨師，縱大風雨。黃帝乃 大神魃
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下天女魃，雨止，遂殺蚩尤。魃不得復上，所居不雨。叔均言之帝， 後置之赤水之北。叔均乃為田祖。魃時亡之。所欲逐之者，令曰： 「神北行！」先除水道，決通溝瀆。 ──《山海經．大荒北經》
精衛 精衛是炎帝的女兒，名為女娃，在東海
死之後，化作精衛鳥，志於
填平東海。 經典原文及出處： 炎帝少女，名曰女娃。女娃游于東海，
而不返，故為精衛，常銜西
山之木石，以堙于東海。 ──《山海經．北山經》
女丑尸（焚巫祈雨） 古時天旱常以女巫飾旱魃而曝曬或焚燒之，以消災祈禱天雨。山海經 中記載的女丑與旱魃皆衣青衣，並與旱災有關。根據研究，女丑可能 是在高山頂上的儀式中扮演旱魃的女巫，遭祈雨民
曝曬於烈日下，
或架薪柴焚燒致死。
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經典原文及出處： 女丑之尸，生而十日炙殺之。在丈夫北。以右手
其面。十日居上，
女丑居山之上。 ──《山海經．海外西經》 有人衣青衣，以袂
面，名曰女丑之尸。
──《山海經．大荒西經》
魍魎 魍魎又寫為罔兩，一說是顓頊的兒子，後來成為疫神瘟鬼。一說是一 種精怪。 經典原文及出處： 狀如三歲小兒，赤黑色、赤目、赤爪、長耳、美髮。 ──《淮南子》 昔顓頊氏有三子，死而為疫鬼。一居江水，為瘧鬼；一居若水，為魍 魎鬼；一居人宮室，善驚人小兒，為小鬼。 ──《搜神記》 罔兩，山川之精物也。 大神魃
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──《說文解字》 木石之怪曰：
、魍魎。
──《國語》
河伯 冰夷、馮夷皆為河伯之名，是黃河之神。有關河伯的故事相當多，其 中最有名的便是河伯娶婦，在卜辭中即有「河妾」之語，其來源甚 古，但在山海經中並沒有記載。 經典原文及出處： 從極之淵三百仞，為冰夷恆都焉。冰夷人面，乘兩龍。 ──《山海經．海內北經》
刑天 傳說刑天是炎帝的屬臣，在一場與黃帝對戰的戰役中失敗，被黃帝斬 首，頭顱被埋在常羊山（此山名，義為 於此
佯，
刑天失去頭顱之後，
徊不去）。而刑天的「天」字在甲骨文、金文中都代表人的頭
部。刑天之名，其義正為斷首。
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經典原文及出處： 刑天與帝爭神，帝斷其首，葬之常羊之山，乃以乳為目，以臍為口， 操干戚以舞。 ──《山海經．海外西經》
金烏 金烏在古神話中是運載太陽的神禽，後來演變為太陽本體。傳說原有 十個太陽在天空中輪班。 經典原文及出處： 大荒之中，有山名
搖
羝，上有扶木，柱三百里，其葉如芥。有谷
曰溫源谷。湯谷上有扶木。一日方至，一日方出，皆載于烏。 ──《山海經．大荒東經》
風伯雨師 為風神與雨神，在黃帝大戰蚩尤之時，呼雨招風協助蚩尤，但卻敗於 旱魃致旱的神力。 經典原文及出處：
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蚩尤請風伯雨師，縱大風雨。黃帝乃下天女魃，雨止，遂殺蚩尤。 ──《山海經．大荒北經》
建木 傳說中的神木。因其高大，而相傳為
神往返天地之間的天梯。
經典原文及出處： 有木，青葉紫莖，玄華黃實，名曰建木，百仞無枝，上有九 九枸，其實如麻，其葉如
，下有
，大皞爰過，黃帝所為。
──《山海經．海內經》 建木在都廣，
帝所自上下。
──《淮南子．
形》
獸 獸為雷神之一。 經典原文及出處： 東海中有流波山，入海七千里。其上有獸，狀如牛，蒼身而無角，一 足，出入水則必風雨，其光如日月，其聲如雷，其名曰 大神魃
。黃帝得 潑墨書房
之，以其皮為鼓，橛以雷獸之骨，聲聞五百里，以威天下。 ──《山海經．大荒東經》
咸池 咸池是太陽洗浴之處。 經典原文及出處： 日出於暘谷，浴于咸池，拂於扶桑。 ──《淮南子．天文訓》
雷澤 雷澤為雷神居住之地。 經典原文及出處： 雷澤中有雷神，龍身而人頭，鼓其腹則雷。 ──《山海經．海內東經》
燭龍
大神魃
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燭龍又稱燭陰、燭九陰。神話傳說中，燭龍住在赤水以北，是代替太 陽照亮北方天空的神明。他的眼睛睜開與閉合便能形成北方的白晝與 黑夜。 經典原文及出處： 西北海之外，赤水之北，有章尾山。有神，人面蛇身而赤，直目正 乘，其瞑乃
，其視乃明，不食不寢不息，風雨是謁。是燭九陰，是
為燭龍。 ──《山海經．大荒北經》
【舞臺燈亮，旱魃手持卷軸上臺讀誦一段創世的故事。 言可以聽得出是屬於漢語的系統，可是卻無法聽出是 覺上更像是世界剛被創造時，崑崙
所使用的語 一種方言，感
神們所使用的語言。此時因為
《大神魃》神話故事卷軸尚未展開，缺乏故事卷軸中的文字輔助，我 們完全無法理解臺上的旱魃到底說了什麼。臺下有另一位旱魃正與精 衛鳥以手語配合臺上旱魃的讀誦而比劃著。】 序章 精衛 【《大神魃》神話故事卷軸展開，第一個場景是東海之濱。我們看到 旱魃與精衛鳥的對話。】
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旱魃：鳥啊鳥！汝在東海之上飛來飛去做甚麼？ 精衛：吾要填平東海。 旱魃：因何要填平東海？ 精衛：吾淹死於東海，只有填平東海才能消吾心頭之恨。 旱魃：汝是誰？ 精衛：吾是精衛鳥，是炎帝之女天女娃死後恨念所化。汝又是誰？ 旱魃：吾是黃帝之女，天女魃。 精衛：汝是乾如木炭的旱災女神！汝是被父親遺棄，被人類驅趕的旱 魃，吾聽過汝。 旱魃：填平東海要多久？ 精衛：東海又廣又深，要久久久久之後才能填平。 旱魃：東海有多深？ 精衛：東海是吾之恨，恨有多深，東海便有多深。
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旱魃：汝之恨有多深？ 精衛：吾之恨深不見底。那汝
？
繪本 最後一頁 繪本影像 卷軸上浮現出一個破敗的世界，上古的村落與山河。人類所造的茅 屋、工具等等都已經毀壞，人類所生養的後代與豢養的動物都變成枯 骨。
個死
的世界，只有一陣一陣的焚風還活著，焚風吹過人類的
村落，以及殘留下來的斷瓦頹垣和枯骨僵屍；焚風吹過無人的荒野、 乾涸的河床和朽壞的樹木；焚風吹過大山，吹過滿地妖邪神鬼以及那 些魑魅魍魎的屍首──他們現在再也無法捉弄人類了。 繪本文字 個世界一片荒蕪。 知道
個世界寸草不生。
個世界已經死亡。誰也不
個世界是怎麼滅亡的，因為所有目睹的，所有見證的，也都跟
著滅亡了……。
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第壹章 驅神
（樂師＆繪本）
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（攝影／許翔）
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（攝影／許翔）
（攝影／許翔）
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（攝影／劉振祥）
【一個無法知道確切時空之處，旱魃呆立著，心中充滿了疑問。兩個 聲音在
腦海中自相問答，交錯而混亂。】
魃甲：吾不了解
是為何？
魃乙：吾不記得
是何處。
魃甲：伊等因何要
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樣做？
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魃乙：吾因何在
裡？
魃甲：吾是誰？ 魃乙：吾要去何處？ 魃甲：汝是誰？ 魃乙：吾是誰？ 魃甲：誰在追吾？ 魃乙：誰在追吾？伊等來了。 魃甲：伊等來了。 魃乙：伊等來了。
是何處？
魃甲：讓吾想一下。 魃乙：讓吾停一下。 魃甲：伊等來了，吾要走了。 魃乙：伊等來了，吾要走了。 大神魃
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魃甲：走了。 魃乙：走了。 【場景轉驅神儀式。人類唱頌著驅神的咒語誘使旱災之神現身，隨即 展開一場驅神的儺舞儀式。】 人類：
北極引 走、走北極，一夜千里，奔如風，奔如風。 金剛咒 墜崑崙兮迷途，遊神州兮乘風。 父母離兮命乖，嘆零落兮何用。 燃星光兮靈引，速其行兮路長。 北幽冥兮適遊，往無回兮樂永。 集松柴兮成臺，灌膏油兮其上。 行兮走兮莫遲，火
身兮莫悔。
走兮行兮莫疑，神若焦兮莫悲。 【儀式結束後，場景轉換成人類的村落，村落的長老講述旱魃與人類 相遇的故事，群
們配合長老演起故事中的情節，旱魃帶著一把千瘡
百孔的破紙傘進入故事之中。】 長老：大神經過人類的村落，遇見一個人類小女孩，小女孩沒有見過 大神魃
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神明或妖怪。 女孩：汝是誰？是神明亦是妖怪？ 旱魃：吾是神明。 長老：女孩又問。 女孩：汝有甚麼能力？能不能變出一
花給吾？或是一道彩虹？
旱魃：吾可以讓所有汝想像得到的花都枯萎，吾身處之地永遠都不會 有彩虹。 長老：女孩聽到大神的回答之後哭了起來，於是村裡的人便把大神趕 走。大神又到了另外一個人類的村落，伊看到好多人類在一片 綠色的草原中來來去去。 旱魃：汝等在做甚麼？ 人類：在工作。 旱魃：
裡只有一片綠色的草原，有甚麼工作好做？
人類：吾等在種植小米，
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是吾等的糧食。
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旱魃：吾是崑崙
神中的天女魃，吾能幫上甚麼忙？
人類：汝有甚麼神力？可以讓雨水下得更充足，或是帶來溫和的風？ 旱魃：不行。 人類：那汝會甚麼？ 旱魃：吾可以招來焚風，燒盡敵人的
甲和血肉，吾身處之地，數千
年也不會下一滴雨。 長老：於是人類又把大神趕
大神魃
了。
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Introduction Due to a lack of systematic documentation, Chinese mythology is often presented in broken chapters and unconnected stories. Some stories may have inherent logical contradictions, while the overall mythological genealogy remains fragmented and obscure. The earliest known record of Han-pa’s story is in Shan-hai-jing, an ancient collection of Chinese mythology. She is said to be the daughter of Emperor Huang, and a goddess of droughts who was hated by mankind. Because of her ability to stop rain and dry up the land, she helped her father to victory in a crucial battle. Instead of awarding her, the gods then deserted her in the mortal realm, keeping her from returning to Kun-lun, the holy mountain of the gods. Elaborating upon this short entry in the collection of myths, The Drought Goddess presented the story in the form of broken chapters
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and disconnected tales, highlighting the events Han-pa encountered on her way back home. In her journey, Han-pa met gods, spirits and mortals; she experienced abuse, banishment and deception; she was even trapped in Peng-lai, the mythical island at the end of the world, only waking up after eons, after the apocalypse had come and gone. By this point, all beings on earth were dead, gods, spirits and mortals alike, and Han-pa was the last deity in the world. After thousands and thousands of years in exile, the loneliness of facing a dead world was especially unbearable for Han-pa. She had the power to create a new world, but it seemed inevitable that the new world would be filled with betrayal and lies again. How would she choose? Aside from the Han-pa-centric journey, which is marked by chapters like a book, there is another through-line in the play. Animated segments in the form of a picture book are interspersed throughout the play, presenting the life and death of the world backwards, from collapse to creation. The Stage The stage is the physical embodiment of a storybook of mythology: a scroll in the Chinese style, unrolling as the story progresses. The visual style of the characters, landscape and calligraphy brings to 大神魃
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mind 2-D graphics painted in black ink, with calligraphic brushes, on white paper. The Language All lines in this play are spoken in an “ancient mythological dialect,” which the playwright created by collaging and transforming various Han Chinese dialects. The source dialects include Min Nan, Hakka, Suzhou and Cantonese dialects.
Han-pa is the daughter of Emperor Huang, and is the Drought Goddess. In the myths, she wears blue and is bald. In this play, she holds a battered and perforated paper umbrella, looking all over the land for a way back to Kun-lun, the heavenly realm.
“In the great desolate wilderness, there was a person wearing blue. Her name was Han-pa, the daughter of Emperor Huang. Chi-you led 大神魃
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his army to fight against Emperor Huang. Emperor Huang sent Yinglong (the dragon who commanded the rain) to meet Chi-you in battle at the field of Ji. Ying-long poured down the water in its keep, while Chi-you commanded Feng-po and Yu-shi (God of Wind and God of Rain) to intensify the power of the storm. Emperor Huang summoned Han-pa to stop the rain, and so Chi-you was slain. Han-pa could not find her way back to the heavenly realm. Wherever she stayed, it did not rain. Shu-jun (the grandson of Emperor Huang) reported the situation to Emperor Huang and suggested they move Han-pa to the north of Chi-shui. Shu-juan has been esteemed as the protector of farmers since. Han-pa wandered from place to place, and the people chased her away wherever she went. “The Goddess to the North,” they prayed. The people cleaned the channels and dredged the trenches to lead her way.” ─From “Classic of the Great Wilderness: North”, in Shan-hai-jing.
Jing-wei was the daughter of the Emperor Yan, and was known as Nu-wa. After Nu-wa drowned in the East Sea, she reincarnated into the Jing-wei bird and was determined to fill up the East Sea with stones. 大神魃
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“Nu-wa, the daughter of the Emperor Yan, swam in the East Sea. She drowned and never returned. She was transformed into the Jing-wei bird, continuously fetching stones and wood from the West Mountain, determined to fill up the East Sea.” ─From “Classic of the Mountains: North”, in Shan-hai-jing.
In ancient China, when a drought took place, female shamans or witches were often dressed to symbolize Han-pa; they would be ritualistically exposed under the sun or burned alive as a sacrifice for rain. In Shan-hai-jing, both the Nu-chou-shi and Han-pa were usually dressed in blue and mentioned in connection with droughts. It is possible that the Nu-chou-shi were the sacrifices in rain-summoning rituals.
“The corpse of the witch lay here. She had been exposed under the sun for ten days and was burned to death afterwards, north of Zhang-fu Country. She covered her face with her right hand, and
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perished at the top of the mountain when ten suns shone from the sky.” ─From “Classic of Regions Beyond the Seas: West”, in Shan-hai-jing. “The person who was dressed in blue and covering the face with the sleeves had been known as the Nu-chou-shi.” ─From “Classic of the Great Wilderness: West”, in Shan-hai-jing.
The concept of Wang-liang has two origins in Chinese legend: one is that he was the son of Zhuanxu, and became the Spirit of Plague after death. The other one saw him as a kind of spirit or monster to begin with.
“Built like a three-year-old boy, he was black-red, had red eyes, red talons, long ears and beautiful hair.” ─From Huai-nan-zi. “Zhuanxu had three sons, who died and became spirits of the plague. One lives in the river, called Nie; one lives in the stream, called 大神魃
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Wang-liang; one lives inside others’ houses and scares the children, called Xiaoguei.” ─From Sou-shen-ji. “Wang-liang, a spirit of the mountains.” ─From Shuo-wen-jie-zi. “The monster of the woods and the mountains is called Wang-liang.” ─From Guo-yu.
He-bo, also known as Bing-yi or Feng-yi, was the God of the Yellow River. There are numerous stories about He-bo, but the most popular one is the wedding of He-bo. Mentions of “Concubine of He-bo” can be found in texts as old as bu-ci (oracle inscriptions on bones or animal shells in the Shang Dynasty). While its origins were ancient, there was no mention of it in Shan-hai-jing.
“The Cong-ji Pool was 300 rens* in depth. Only Bing-yi lived here. Bing-yi had the face of a human and rode two dragons.” 大神魃
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─From “Classic of Regions Within the Seas: North”, in Shan-hai-jing. *Ren: ancient Chinese measurement of length. 1 ren is around 2.65 meters.
According to legend, Xing-tian is a courtier of the Emperor Yan. Emperor Yan lost the battle against Emperor Huang, and Xing-tian was beheaded. His head was buried at Chang-yang Mountain (in Chinese, the phrase “chang-yang” means to linger, which implies that Xing-tian still roams the mountain after losing his head). Tian means “head” in the oracle bone script and Chinese Bronze script, and Xingtian means “to behead”.
“Xing-tian fought against the Emperor and was beheaded. He was buried at the Mountain of Chang-yang. He wandered around with breasts as eyes, his navel as mouth, and danced with his shield and axe.” ─From “Classic of Regions Beyond the Seas: West”, in Shan-hai-jing.
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In ancient Chinese mythology, Jin-wu was the bird-deity who carried the sun. Later, it was used to symbolize the sun itself. According to folklore, there were ten suns taking shifts in the sky.
“In the great wilderness, there was Mount Nie-yao-jun-di, where a divine tree grew. The tree was 300 lis* in height, and its leaves looked like mustard leaves. There was a valley called Wen-yuan, which had another divine tree. When one of the suns returned from duty, another one climbed up the divine tree on the back of a three-legged bird.” ─From “Classic of the Great Wilderness: East”, in Shan-hai-jing. *li: A unit of length equal to half a kilometer.
The God of Wind and the God of Rain. At the great battle between Emperor Huang and Chi-you, Feng-po and Yu-shi summoned the wind and the rain to assist Chi-you; however, they were defeated by the power of Han-pa.
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“Chi-you commanded Feng-po and Yu-shi to intensify the power of the storm. Emperor Huang summoned Han-pa to stop the rain, and so Chi-you was slain.” ─From “Classic of the Great Wilderness: North”, in Shan-hai-jing.
The legendary divine tree. Because of its height, Jian-mu became the ladder connecting the world of mortals and the heavenly realm.
“There was a tree, with green leaves, purple stems, black flowers and yellow fruits. The tree had no branches up to 100 rens* above the ground, and then was divided into 9 branches. It stood with 9 roots on the ground. The tree bore similar fruits as the ramie fruit, and had leaves similar to awn leaves. Emperor Da-hao set his steps on this tree; Emperor Huang sorted it into shape.” ─From “Classic of Regions Within the Seas”, in Shan-hai-jing. Jian-mu was located at Dou-guang, and was used by the gods to ascend and descend.” ─From “Forms of Earth”, in Huai-nan-zi. 大神魃
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*Ren: ancient Chinese measurement of length. 1 ren is around 2.65 meters.
Kui-shou was one of the gods of thunder.
“Liu-po Mountain was located in the East Sea, 7000 lis* away from the shore. The creature residing in the mountain had the features of a bull, green skin, no horns and one leg. Every time it touched the water, a storm followed; its halo shined like the sun and the moon, and it shouted like thunder. Therefore, it was named Kui (meaning “thunder”). Emperor Huang used the skin of Kui to fabricate a drum and beat the drum with Kui’s bones. The rumble could be heard within 500 lis. It startled the world.” ─From “Classic of the Great Wilderness: East”, in Shan-hai-jing. *li: A unit of length equal to half a kilometer.
Xian-chi is the bathing pool of the sun.
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“The sun rises from the Valley of the Sun, bathes in Xian-chi, and uses Fu-sang to wipe itself dry.” ─From “Patterns of Heaven”, in Huai-nan-zi.
Lei-ze is where the god of thunder resides.
“The god of thunder lives in Lei-ze. The god has a human head and the body of a dragon. Thunder strikes when the god of thunder drums on his belly.” ─From “Classic of Regions Within the Seas: East”, Shan-hai-jing.
Also Known as Zhu-yin and Zhu-jiu-yin. In Chinese mythology, Zhulong lived north of the Chi-shui (Red River,) and was the god who lit up the Northern sky instead of the sun. When his eyes opened, it was day, and when they closed, it was night in the North.
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“Mount Zhang-wei is located beyond the Northwestern Sea, north of the Chi-shui, Red River. The god who resided here had a human face and a red snake body. The god always looked straight ahead. His closed eyes could create darkness, while his open eyes brought in the light. The god did not eat, sleep or rest, and he possessed the power to control the wind and the rain. The god is known as Zhu-jiu-yin or Zhu-long.” ─From “Classic of the Great Wilderness: North”, in Shan-hai-jing.
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The stage lights up. Han-pa enters, carrying a scroll. She reads out loud from the scroll—it is a story about the creation of the world. The language she uses is recognizable as part of the Chinese language system, but we are unable to determine the exact dialect. It gives off the feeling of antiquity, like a language used by the old gods at the beginning of all things. Since the Drought Goddess scroll has not begun to unroll, we have no written text to help us understand Han-pa’s words. Another Han-pa is situated at the foot of the stage. This Han-pa and Jing-wei gesture together, following the on-stage Han-pa’s reading.
The stage-scroll unrolls. The story it tells is the mythological tale of The Drought Goddess. The first scene is on the shore of the East Sea. We see the dialogue between Han-pa and Jing-wei. Han-pa: Bird, O Bird! Why are you crisscrossing the East Sea? Jing-wei: I wish to fill up the East Sea.
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Han-pa: For what reason must you fill up the East Sea? Jing-wei: I was drowned in the East Sea. My hate shall not vanish until the East Sea does. Han-pa: Who are you? Jing-wei: I am Jing-wei the Bird. The daughter of the Emperor Yen (God of the South) died, and I was born of her ghostly hate. And who are you? Han-pa: I am the daughter of Emperor Huang (God of the Center), the goddess Han-pa. Jing-wei: You are the Goddess of Drought, the Charcoal-dry One. You are abandoned by your father and banished by mankind. I have heard about you. Han-pa: How long does it take to fill up the East Sea? Jing-wei: the East Sea is wide and deep. It takes a long long long long time to fill up. Han-pa: How deep is the East Sea? 大神魃
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Jing-wei: the East Sea is my hate; the depth of my hate is the depth of the East Sea. Han-pa: How deep is your hate? Jing-wei: My hate has no bottom. And yours?
Illustrations: The scroll reveals a world in decay, with ancient villages and landscape. The straw huts and handmade tools lay broken and abandoned; the offspring and livestock of men are nothing but bones. In this deathly world, the only thing alive is the scorching wind. It sweeps over the villages, over crumpling ruins of buildings and dried-up corpses; it crossed the empty wilderness, waterless riverbed and dead trees. The hot wind blows over the grand mountains, over the bodies of malevolent spirits and monsters—they are no longer able to prey upon mankind. Text: This world is in ruins. This world is fruitless. This world is dead. No 大神魃
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one knows how it happened, because all who had witnessed the destruction have perished with it.
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An indeterminable place and time. Han-pa stands still, filled with doubt. Two voices are in her head, questioning each other, rising and falling. Chaotic. Han-pa A: I do not understand the reason. Han-pa B: I cannot recall the place. Han-pa A: Why did they do that?. Han-pa B: Why am I here? Han-pa A: Who am I?. Han-pa B: Where am I going? Han-pa A: Who are you?. Han-pa B: Who am I? Han-pa A: Who is chasing me?. 大神魃
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Han-pa B: Who is chasing me? They are here. Han-pa A: They are here.. Han-pa B: They are here. What is this place? Han-pa A: Let me think.. Han-pa B: Let me stop. Han-pa A: They are here. I must go.. Han-pa B: They are here. I must go. Han-pa A: Must go.. Han-pa B: Must go. The scene shifts into a ritual of banishment. Men chant to lure the goddess of drought into their midst, and then begin a ritualistic Nuo dance of banishment. [Chant of the North] Run, run to the end of the North, thousand miles a night;
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Go like the wind, like the wind. [Diamond Sutra] Fallen from Kun-lun, oh you’ve lost your way; Riding on the wind, oh you roam the land. Deserted by your father, oh wretched is your fate; What’s the use complaining? Oh the orphan’s lament. Light up the stars, oh they will guide your spirit; Pick up your pace, oh the long march has begun. Go to the dim cold North, oh the trip will suit you; Do not return ever—oh we’d love to see you never. We gather tinder and pine, oh to build a platform; We pour grease at its feet, oh we slather oil atop; To speed you on your way, oh you must not delay, Or else don’t regret when the fire burns your heart. Quicken your step, on your way, oh do not hesitate; Or else refrain from tears when your spirits burn.
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When the ritual ends, the scene shifts to a human village. The elder of the village tells the story of Han-pa’s encounter with mankind. As he tells it, the crowd enacts the events in his story. Han-pa enters the story, carrying a broken, perforated paper umbrella. Elder: The Goddess passed through the village of humans and encountered a little girl. The girl had never seen a god or a spirit. Girl: Who are you? A god? Or a spirit? Han-pa: I am a goddess. Elder: The girl asked again. Girl: What can you do with your power? Can you make me a flower, or a rainbow? Han-pa: I can wither every flower you can think of, and where I am a rainbow will never be. Elder: The girl cried after hearing the answers from the goddess, so the villagers chased the goddess away. The goddess arrived at another village, and saw that many people were walking in a 大神魃
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green meadow. Han-pa: What are you doing here? Humans: Working. Han-pa: There is nothing but green grass here, what is there to work on? Humans: We are growing millet. This is our food. Han-pa: I am the Goddess Han-pa from Kun-lun. How can I help you? Humans: What power do you have? Can you bring us more rain, or call upon us the gentle wind? Han-pa: Nay. Humans: What can you do? Han-pa: I can call forth a scorching wind to burn the armors and flesh of your enemy. Wherever I am, the place will have nary a drop of rain for a thousand years. 大神魃
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Elder: So the people chased the goddess away again.
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版權 《表演臺灣彙編：劇本，設計，技術， 戲劇劇本館
∼》
《大神魃》
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／李易修 戲劇製作／李易修 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／劉微明 英文校對／陳怡君 法文翻譯／Albane Lahlou 法文校對／許凌凌 大神魃
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法律顧問／李友琦 製作公司／潑墨數位出版行銷有限公司 發行日期／2014年06月 初版 指導單位／
本數位出版品之製作出版，接受文化部「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/9789860435047(ePub)
大神魃
潑墨書房
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/Yi-hsiu Lee Producer/Yi-hsiu Lee Editor in Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan Assistant Editor/Chia-ling Tsai 大神魃
潑墨書房
Translator/Wei-ming Liu Proofreader/Yi-chung Chen Français Translator/Albane Lahlou Français Proofreader/Ling-ling Sheu 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/9789860435047(ePub)
大神魃
潑墨書房