目錄／
封面／Book Cover 目錄／Content 總編輯的話／From the Editor in Chief 導言／Introduction 《逆旅》創作者自序 《逆旅》導演 釋概念 《逆旅》劇本 附錄1 影音精選與音樂／Video Clips & Music 附錄2 劇作家詹傑簡介 附錄3 創作社劇團簡介／Creative Society 附錄4 首演資 附錄5 幕後製作相關 台灣現代戲劇 表演影音資料庫簡介／An Introduction to Electronic Theater Intermix in Taiwan 14. 版權／Copyright 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.
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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 逆旅
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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。 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
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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
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。
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
搬上舞臺，必然已經取得一定的社會資源，
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。 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 逆旅
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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、Frank
Episale
先生，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， 完成主要英文譯文，爲日後的國際發行奠定基礎。
《表演臺灣彙編》叢書總編輯，2013年10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 逆旅
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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 逆旅
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record quality performances that the reader would otherwise be unable to access. 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 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.
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 逆旅
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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 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.
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As we move forward in the editorial process, we must thank all of the artists, the production companies, the National Chiang Kai-shek Cultural Center, and the Public Television Service Foundation for their support and endorsement. We would also like to thank Dr. Ayling Wang, Dr. Ho-yi Lin, Dr. Wan-shun Shih, Ms. Ju-fang Shih, Ms. Wei-ming Liu and Ms. Betsy Lan for penning introductions to the first six works of the collection, offering informative and inspiring entry points for the reader. We thank Mr. Simon Chen, attorney-atlaw, Mr. Chi-wei Tang, attorney-at-law and Ms. Yo-chi Li for valuable legal advice. Many thanks again to Dr. Wan-shun 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 four devoted English translators, Dr. Jen-hao Walter Hsu, Ms. Wei-ming Liu, Dr. Chiayi Seetoo, and Mr. Frank Episale, without whose hard work it would have been nearly impossible for us to produce the English texts that would serve as the basis for future international distribution within such a limited timeframe.
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Katherine Hui-ling Chou Editor in chief of Performing Taiwan, October 2013
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導言 從互為彼此生命眉批的三代（女）人，側擊臺灣的歷史情感的 逆旅 文／周慧玲（國立中央大學英文系所／教授）
擔任劇本競賽的評審是件讓人低頭
息的苦差事，因為劇作不是用來
讀的，是用來演的。初讀《逆旅》，看到劇本第一頁曹海安嘴裡 謝雪紅三個字，一度令人神經緊繃，深怕又是一
出
政治正確的敗筆。
然而從第二景開始，海安失聯多年的女兒ViVi站在陷入昏迷的海安床 邊，努力想從那張安靜的臉龐讀懂
已然陌生的母親開始，我便昂立
引頸地期盼著，ViVi究竟要怎樣從海安的日記和海安參與的謝氏傳記 眉批裡，拼湊海安（甚至謝氏）看似不平凡卻又一無所成的女人的一 生？自從那刻起，我看著《逆旅》一路從得獎到搬上舞臺又到如今再 出版，無論如何修改，只越動人地從一個平凡女人曹海安臨終的安靜 臉龐上，映照另一個過度被政治化與傳奇化的謝雪紅的面容，讓彼此 都變得更平凡也更有人的溫度。 作者稱《逆旅》是一個關於謝雪紅的單人旅程。更具體說，它是一部 關於三代人互為彼此生命眉批的故事。歷史人物的傳奇性也許容易入 戲，歷史裡政治人物卻很難寫，因為作者太容易露出自己幼稚的政治 逆旅
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見解。《逆旅》作者技巧地從一個他最熟悉的「閱讀」行動下手，設 計了彼此陌生又關連的三個女人：謝雪紅、《謝雪紅傳》的合
者曹
海安和自認被海安遺棄的女兒ViVi，讓他們在閱讀彼此生命的歷程 中，成為對方日記上的眉批。 故事開始於戒嚴前的臺灣，應該安穩過日子的曹海安，幫一個辭去大 學教職的歷史學者張崇輝，準備
寫當時仍視為禁忌的謝雪紅傳記。
他們在拮据的角落，啜飲一杯曼特寧，熱情地閱讀謝雪紅，安靜交換 對彼此的澎湃，十足的小確幸背後，是解嚴前夕的臺灣，人們處心積 慮攢積一點自我的小浪漫。不過作者並不耽
於此。第一場裡被傳記
人物啓發的家庭主婦曹海安，第二場來到生命尾端，最終只落得孑然 一身入院，一生的故事盡藏於床下的一只皮箱，上了鎖等待知音人猜 中密碼重新開啓。自此，海安的故事和 由不瞭解 允，從
眼裡的謝雪紅的故事，都要
（們）的女兒ViVi和後來畏縮離臺的昔日戀人的兒子士
（們）的日記與傳記眉批中，從
（們）臨終的面容變化
裡，細拆密縫，重新拼湊。 劇本的精彩之處，在於劇中人物在閱讀彼此的過程中，讓自己和對 方，短暫地合而為一又迅速分開，即彼此依靠又各有性格。例如，謝 雪紅回憶幼年的自己的姓氏像「衣服一樣縫在我身上。我低頭發現， 世界，也不過就是我 （隱
逆旅
底
的一小塊地」，喚起了曹海安和姊姊海寧
謝氏的二姐）和後來的單親女房東「一世人做別人媽媽和做別
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人的某，
袂記做自己是
滋味？」的共鳴。劇本的結構，自此讓劇
中所有的女性，都因為曹海安 旅程，也成了 輝卻等來讓
寫謝雪紅，而互為彼此了。謝雪紅的
們的旅程，就像ViVi想像母親怎樣在火車站等者張崇 下獄的警察，看似理解了海安當年等待的，未必是張，
而是一個真正可以掌握自己未來，不再害怕的曹海安。劇中的高潮之 一，當是第六場謝雪紅的單人旅行之二「世界」，扮演海安，房東， ViVi的三個演員，同時閱讀謝雪紅，並在閱讀中回顧自己的遭遇。當 讀者觀
快要被
群昔日的家庭傀儡的眼淚窒息的時候，劇作家不忘
給我們片刻的莞爾。例如，劇中曹海安的姐妹淘對謝雪紅的好奇，非 關政治革命，卻是「聽說謝雪紅是臺中第一個會騎 每一次出門騎車，路邊就會有一堆人搶著看！」 汨」。 逆
踏車
某人！
樣的生活「醋
們，終究不曾造就什麼了不起的革命，不過是激起了片刻的 漪。
初識《逆旅》的人，往往好奇年輕英俊的斯文書生如詹傑，怎能 細寫女性的幽微情
樣
？然而詹傑對生命和歷史的憐閔，才是《逆旅》
真正讓人驚悸錐心處。正如劇中士允伴著ViVi守在海安床邊，想著堪 稱海安與父親婚外情犧牲者的母親的孤獨臨終，卻只悠悠地說著， 「其他人漸漸就不來了。他們沒想到死是一件
麼久的事。」無論生
命如何激烈飄盪像謝氏傳奇，或如何平凡無成似劇中女性，死亡的過 程都是漫長而孤獨的。從死亡的一端，來回搬演的一度
逆激進的劇
中人短暫的菁華和漫長的臨終，詹傑似是透過《逆旅》為我們展開了 逆旅
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一種臺灣的歷史情懷。那究竟是什麼情懷？劇中兩句臺詞，又像是詹 傑自己的兩則眉批：「有天當我離開，你就再也找不到我了。」「但 是那些字會活得比我們更久，去到更遠的地方。」一旦它們的順序如 《逆旅》般顛倒，觀者得到的歷史情懷，同還是不同
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Reading Three Generations of (Wo)men Reading One Another, Feeling the Historical Sentiments Toward Taiwan Along Self ReQuests To judge a playwriting contest is often a frustrating and dreadful task, because a play is not supposed to be read, but performed. When I first read Self Re-Quests (Nì lǚ , 逆旅, literally "reverse-journey") and saw that the name “Hsieh Hsueh-Hung” was uttered by Tsao Hai-An on the very first page, I almost got an anxiety attack, fearing that this was just another politically correct cliché. And yet, the play piqued my interest with scene two, in which Hai-An's daughter ViVi, after a long absence, stands at her mother’s bedside and struggles to interpret the peaceful face of the unconscious woman to whom she has become a stranger. I began to wonder, with great hope and curiosity, how ViVi would ever puzzle together the life of Hai-An (and, at the same time, the life of Hsieh), a woman who seems to be extraordinary and yet has never achieved anything, just
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by reading her diary and the notes she has written on the margins of Hsieh's biography (which, it turns out, she helped to author). Since that first reading, I have witnessed several reincarnations of Self ReQuests : the play won the prize, was performed on stage, and has now been published again. Changes have been made, but they only add more to the humanity of the characters. The serene face of an ordinary woman (Tsao Hai-An) during the last days of her life, illuminates another face: that of Hsieh Hseuh-Hung, who is all too often overly politicized and mythologized. The play makes both women much more humble and real. Zan Jae, the playwright, describes Self Re-Quests as the solo journey of Hsieh Hsueh-Hung. More concretely, the play is about three generations of women who are reflections of one another, each like notes written in the margins of another's book of life. It may seem easy to dramatize the myths of historical figures, but it is difficult to write about history’s political figures, because authors can too easily reveal their own immature political views. The author of Self Re-Quests , however, artfully engages with the subject by way of an act that he is most familiar with: "reading." From this starting point, he conceived three women who are foreign to, but also connected with, one another: Hsieh Hsueh-Hung; Tsao Hai-An, or the co-author of The Biography of Hsieh Hsueh-Hung ; and ViVi, Hai-An's daughter, who thinks she has been 逆旅
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deserted by her mother. The play lets them "read" one another's lives; they become the reading notes written in the margins of each other’s diaries. The story begins at a time before martial law (1947–1987) was lifted in Taiwan. Tsao Hai-An, who could have led a stable and normal life, is instead helping resigned history professor Chang Chung-Hui to work on a biography of Hsieh Hsueh-Hung, who at the time was still a taboo figure. Sitting in a humble corner, sipping a cup of Colombian Medellin Coffee, Tsao and Chang read about Hsieh with passion while secretly brewing their own passions for each other. A petite happiness indeed, it is the kind of small, intimate romance that people allowed themselves while waiting for martial law to be lifted. The playwright does not dwell too long here, though. Tsao Hai-An, a housewife who, in the play’s first scene, is inspired by the figure in the biography, is coming to the end of her life in the second scene. Hospitalized and alone, she has locked her own story in the suitcase under her bed, waiting for some kindred soul who might decode and unlock it. From then on, only Hai-An’s daughter ViVi (who knows very little about her mother and Hsieh) and ShiYun, the son of Hai-An’s former lover who retreated and left Taiwan, can puzzle together the stories of Hai-An and Hsieh as seen by HaiAn. ViVi and Shi-Yun need to carefully tear apart and suture together the threads they find by reading Tsao’s (and Hsieh’s) diary as well as 逆旅
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the notes written in the margins of Hsieh’s biography; they need to reassemble the story by reading into the changing countenance(s) of Tsao/Hsieh as her/their life comes to an end. What’s fantastic about the script is that it momentarily merges and then quickly separates the characters as they read one another; that is, they depend on one another but also have their own dispositions. For example, Hsieh Hseuh-Hung recalls her childhood impression that her family name “is like a garment sewed on my body. I looked down and found that the world was no more than the small circle under my feet.” This recollection resonates with Tsao Hai-An, her elder sister Hai-Ning (metaphoric of the second elder sister of Hsieh), and the single landlady who appears later and recounts “being another’s mother and wife for my whole life, I almost forgot what it was like to be myself.” Through Tsao’s biographical writing about Hsieh, the script forms a structure in which all the women in the play are echoes of one another. Hsieh’s journey becomes the journeys of the others as well, as when ViVi imagines her mother waiting for Chang ChungHui at the train station only to be caught by the police and imprisoned. She seems to realize that Hai-An was perhaps not waiting for Chang, but for a Tsao Hai-An, who could determine the path of her own future without fear. One of the climaxes of the play is “The World,” the second part of the solo journey of Hsieh in scene 逆旅
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six. The three actors playing Hai-An, the landlady, and ViVi all read Hsieh at the same time, recalling their own life journeys as they read. Whenever the readers and the audience are about to be submerged in the tears of these domestic puppets of the old days, the playwright offers us a moment of comic relief. For example, the curiosity of HaiAn’s female friends about Hsieh stems not from of her revolutionary politics, but from “juicy” everyday anecdotes like, “Hsieh HsuehHung was said to be the first woman who could ride a bicycle in Taichung! Every time she rode a bicycle on the street, a bunch people would hurry to come and watch!” After all, these women did not bring about any great revolution; at best, their actions stirred a few rebellious ripples that did not last long.
Those just becoming
acquainted with Self Re-Quests often wonder how the elegantly handsome Zan Jae, who has the disposition of a young male scholar, can so exquisitely depict the subtlety of female emotions. And yet, it is Zan’s sympathy for life and history that is so stunningly piercing. In the play, Shi-Yun accompanies ViVi at the bedside of Hai-An, recalling how his own mother had also suffered because of his father’s extramarital affair and was dying all alone; he calmly concludes, though, that “other people slowly stopped coming. They didn’t realize that dying takes such a long time.” Whether a life is turbulent like the legend of Hsieh, or plain and uneventful like those 逆旅
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of the other women in the play, the process of dying is long and lonely. From the brink of death, the play moves back and forth along the fleeting, sparkling lives and the long, lingering deaths of its oncerebellious and progressive characters. It seems that Zan is unraveling for us a kind of historical sentiment toward Taiwan through Self ReQuests . What exactly is this sentiment? Two lines in the play are like Zan’s own notes written on the margins: “One day when I leave, you will never find me”; “But those words will live much longer than us, traveling much further.” When embarking on the reverse journey of Self Re-Quests , what kinds of historical sentiments do the audiences feel? Are they the same or different?
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《逆旅》劇本
編劇／詹傑
劇情簡介 一本陳舊且寫滿批
的《謝雪紅傳》，一位尋找母親的落寞女演員，
一位在醫院拍攝生死面容的攝影師，他們偶然相遇，逐步揭開為時間 所湮沒的家族秘密，貼近一個女人無可言說的渴慕、寂寞、拘束，以 及愛情失落，終而踏上一條無人作陪的路途，以自己凋零生命，重新 貼近並
解謝雪紅。
舞臺說明 場景以精簡擺設來表達所在地點，務求簡約。戲中戲部分
有簡單
椅，各物件可藉由劇情，透過聯想與設計產生多元意象。 場與場之間應保持順暢連貫。
時間 二〇一〇年
人物 曹海安 逆旅
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ViVi 張士允 曹海寧 梁國威 張崇煇 文具店老 娘 老 娘的小女兒 女子 老人 男子ＯＳ 女聲ＯＳ
序場 「水上組曲」主題音樂起。 一個老人坐在舞臺高處的椅子上，望著
上眼前的稿紙。過了一會，
老人緩慢伸出手，開始書寫。
第一場 「改寫《謝雪紅傳》」 昔 （淅瀝瀝的雨聲，幽幽傳來。年輕海安與張崇煇正在房裡工作著。張 崇煇埋首寫稿，過一會，停筆出神思考某件事。海安翻
書籍，在某
一頁突然停住，有感而發。「水上組曲」音樂收。）
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海安：你想什麼時候，謝雪紅會開始回想自己的一生？會是一九四七 年，
搭船離開臺灣，離開所有故
去的那一刻
的朋友、家人，再也不回
？
（海安發現崇煇沒有反應，覺得奇怪，好笑又好氣。） 海安：張崇煇，恁睡去啊？ （張崇煇回神，望著海安笑。） 崇煇：你說什麼？ 海安：我說你趁我不注意， 逆旅
懶睡著了。
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崇煇：沒有。只是寫到開國際書局那部分，我突然發現你跟謝雪紅很 像。脾氣都很硬。 海安：我當你在稱讚我。 崇煇：像
樣一個識字不多的女人，竟然
去開書店，還專賣一些
大家讀不懂的共產思想理論書。 海安：
樣大家就都不識字了，很公平。
崇煇：我不曉得謝雪紅什麼時候會回想自己的一生。但我想，經營書 局的
段回憶一定會留在
心裡。
海安：為什麼？ 崇煇：
在那裏遇見楊克煌。
海安：所以你覺得， 崇煇：不只
會特別記得自己生命裡的的愛情。
海安：如果是
樣，還包括終於找到能
理解
、認同
樣，我倒希望我更像謝雪紅。
崇煇：好，（起身，準備往場外走去）我去煮咖
逆旅
的人。
。
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海安：上次不是沒了。 崇煇：啊！（露出懊惱神情）看我
記性。
（海安將自己帶來的一小包紙袋遞給崇煇。） 海安：我昨天上街時買的。老
特別推薦
種豆子，說是他們自己炒
的。 崇煇：（把紙袋湊近嗅聞）
種香味是……（胸有成竹）曼特寧。
海安：快去吧！ （崇煇向場外走去） 崇煇：（場外）我下次請小陳幫忙帶西門町蜂大咖 次還告訴我，有間日式上島咖
行的豆子。他上
，塞風（Syphon）煮得很棒，
味道特別好。 海安：我剛剛在你
上還看到沒繳錢的電費單。
崇煇：（場外）沒關係，水費也還沒。 海安：你的冰箱空得可以當書櫃用，接下來你就把書當飯吃好了。
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（張崇煇拿著兩杯咖
走進，海安接過其中一杯。）
崇煇：試試。 （兩人嗅聞咖
香，有種默契十足的片刻陶醉。）
崇煇：（隨意翻閱
上文件）有咖
作陪，每個字看起來都不一樣
了。 海安：把吃飯錢都用在
種奇怪地方，就你一個。
崇煇：本來就不是每個人都能體會咖
的好，就像我們在做的
件
事。又苦澀又香醇，讓人格外清醒。
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海安：一肚子歪理！我看喝那麼多咖
也沒讓你比較清醒，辭掉在大
學教書的工作，等於要從頭開始，你覺得 崇煇：（喝了口手中的咖 海安：（喝咖
，打斷）袂歹！（
樣…… 臺語）。
，笑著指正發音）袂歹！
崇煇：那如果是你
？
海安：我又不可能在大學裏頭教書。 崇煇：我是說如果你是謝雪紅，你會去開書店
？
海安：（停頓，想）不會。 崇煇：為什麼？ 海安：那個時代根本不會有女人來買
種書。就算我賣得再多，
們
也看不見。 崇煇：所以你可以辦一個讀書會 海安：只有女人能參加的讀書會！ 崇煇： 逆旅
麼嚴格！那你們要讀些什麼？ 潑墨書房
海安：讀……（看了看
上散開的文件手稿）就讀我們正在寫的
本！ 崇煇：要寫完還早！ 海安：但我們一定會寫完的。 崇煇：（笑，看著海安）要是沒有你， 東西。我也不會下定決心，
本《謝雪紅傳》會少了很多
開所有煩人的事和束縛，全心全
意投入。 海安：你願意聽我的建議改寫整本《謝雪紅傳》，也讓我很驚 崇煇：但我還是沒辦法從一個女人的處境去刻畫謝雪紅，
。
是你說
的。 海安：大家都認為，女人就應該在家裡和洗碗槽旁邊好好待著。（轉 變語氣，模仿男人粗野臺語） 米運動。看看
的同伴和敵人罵
某人放尿嘛袂上壁，對人做 的話，幾乎一模一樣，簡直
像用抄的。 崇煇：一個做革命運動的女人，在四十年前是很難被理解的。 海安：那是一條與所有人相反，漫長又孤獨的路。 逆旅
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（停頓） 崇煇：
是
麼吸引你的原因？抱歉，我付不出像樣的薪水給你。
海安：至少你可以請我喝咖
啊。
崇煇：將來等你把讀書會辦起來的時候，你那些女同學們看到《謝雪 紅傳》上的作者有你。
們一定會很尊敬地喊你一聲，先生
（日語）！ （海安表情一變，氣氛冷了下來。） 海安：我想，作者寫你就
了。
崇煇：為什麼？ 海安：國威和他的家人不會希望我的名字出現在書上。他以為我只是 來幫你整理一些資料。 （靜默，兩人彷彿不約而同滿懷心事。） 崇煇：女兒最近怎麼樣？ 海安：有時候我會想，如果我不是某個人的妻子或母親，我就什麼都
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不是……每次整理謝雪紅的一生，寫著
做過的事，我就覺得
我也有能力去追求自己想要的。 崇煇：所以
本書寫完以後……
海安：（看了崇輝一眼）我就會回到原來的生活。 崇煇：你很矛盾。 海安：人都是矛盾的，你不也是。 崇煇：我怎麼了？ 海安：聽說你訂婚很久了，一直不肯結婚。 崇煇：……連你也知道。 海安：你不喜歡 崇煇：
？
很好，只是我們之間，少了點什麼。（頓）如果有天，你開
始回想起自己的一生，你還會記得 海安：我會記得
？
裡的一切。
崇煇：（破臺語）那是一個快樂，還是艱苦 逆旅
間又小又破的書房
往事？ 潑墨書房
海安：……應該兩種都是吧。 （外頭雨聲漸小，幾至不可察覺；崇煇彷彿在心裡思索某事，一臉踟 不安） 海安：雨好像停了，我差不多要…… （崇煇疾步上前，兩人間片刻寧靜。） 崇煇：……你讀過
清文寫的《水上組曲》
海安：那是我最喜歡的一 崇煇：（笑）是
？
小說。
？那個每天在淡水河兩岸往返的船夫，一直到最
後，都沒有說出心裡真正想說的話。 海安：也是我最討厭的一
小說。
崇煇：（頓）後來那個岸上的女人就消失了。 海安：就算女人又出現，故事的結尾會不一樣
？
（停頓） 崇煇：會，一定會的。 逆旅
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版權 《表演臺灣彙編：劇本，設計，技術， 戲劇劇本館
》
《逆旅》
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／詹傑、創作社 戲劇製作／創作社劇團 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 劇作家／詹傑 英文翻譯／司徒嘉怡 英文校對／Frank Episale 法律顧問／李友琦 逆旅
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製作公司／潑墨數位出版行銷有限公司 發行日期／2013年12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/9789860402551(ePub)
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Published by The Performance Center at National Central University Publisher in Chief/Dr. Jing-yang Jou Address/No. 300, Jhongda Rd., Jhongli City, Taoyuan County 32001, Taiwan (R.O.C.) Phone/+886-3-426-4805 Fax/+886-3-426-4805 Email/theatre@ncu.edu.tw Author/Jae Zan, Creative Society Producer/Creative Society Editor in Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan Assistant Editor/Chia-ling Tsai Playwright/Jae Zan Translator/Chiayi Seetoo Proofreader/Frank Episale Legal Consultant/Yo-chi Li
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Digital Production/Puomo Digital Publishing & Marketing, LLC. Publication Date/December 2013, 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/9789860402551(ePub)
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