目錄／
封面／Book Cover 目錄／Content 總編輯的話／From the Editor in Chief 導言／Introduction 《三顆頭》創作者自序 《三顆頭》導演 釋概念 《三顆頭》劇本 Three Heads Script 附錄1 影音精選／Video Clips 附錄2 劇作家邢本寧簡介 附錄3 首演資 附錄4 幕後製作相關 附錄5 延伸閱讀與迴響評論 台灣現代戲劇 表演影音資料庫簡介／Introduction of Electronic Theater Intermix in Taiwan 15. 版權／Copyright 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14.
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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 三顆頭
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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 三顆頭
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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 三顆頭
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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 三顆頭
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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 三顆頭
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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 新起爐
，鑄劍為頭
文／施如芳（文化大學戲劇研究所／兼任副教授級專技教師）
邢本寧，一個自稱「老派新人」的編劇，我第一次被 碩班畢業作品《紅衣與金
觸動，是在
》的讀劇會上。《紅》是一齣從《四郎探
母》化出來的新編京劇，老實說，在「聽」見它之前，並沒有打心底 激起我的興趣，因為我偏執地以為，傳統老戲（特別是像《四郎探 母》
樣的經典劇目）的包覆力太強大了，一旦沾了邊借了光，無論
改編幅度大小，那百
成鋼的老靈魂必如影隨形，或多或少，有損於
「編劇者，當成一家之言」的志氣。 沒想到，《紅》讓我聽得專注而入神。從演員的聲情裡，聽見文史底 蘊深厚的筆力，和直屬於京劇（卻在新編戲裡不常見）的氣派，驚 年輕如本寧，既不擬古、仿古，也不滿足於just play，
是
樣愛著京
劇套式裡「天真純潔，光整的社會秩序」，但為了與更多人分享所 愛，努力地從說故事的方法上引人入勝。最讓我印象深刻的，是邢深 知「擁有故事才有被（觀 郎之妻寫定「孟金榜」 女兒。 三顆頭
）記憶的權力」，所以為乏人關心的楊四
個名字，並為
造了一個老戲裡不曾有過的
一筆，經營得誠懇而透澈，使那一夜讀劇的聲響，散發出極 潑墨書房
動人的溫度。 後來，從邢本寧的札記讀到 有一節，
寫作此劇過程中反反覆覆的折騰。當中
記述去參加歐丁劇場，來自數十國的學員圍坐地上，被要
求以三五句話介紹自己。
多麼希望以「我是編劇」來自報家門，但
因為作品沒有「真正被搬演過」，理不直、氣不壯，等待發言的過程 中格外緊張，最後
說：「我好像沒做甚麼特別
得說的事，如果一
定要說，我做的最久的一件事，是做我爸媽的女兒！」 做
番窘迫的表態時，邢本寧心裡頭正琢磨著《紅衣與金
如今搬上舞臺，為
》，以及
的編劇之志「驗明正身」的作品《三顆頭》。
兩齣戲發想寫作的時間，不相前後，取材看似一前衛、一傳統，但玩 味起來，兩劇作的關懷顯然有可對照處。 作者自道，《三顆頭》的靈感得自《搜神記》。根據 筆記小說，干將莫邪夫妻為楚王
成
本東晉干寶的
代雙劍，獻劍之前，干將預知
必死，藏了其中的雄劍，囑妻日後交予遺腹子；其子為了殺王報父 仇，將劍連同自己的頭，託付給陌生客，陌生客
落王的頭後，隨即
自刎；落在鼎內的三顆頭終於燒至焦爛，無從分辨，被葬為「三王 塚」。 個遠古的傳說，曾被魯迅先生新編成小說《鑄劍》。《鑄》刻意模 糊了陌生客的動機，以影子人似的超現實筆法，強化「復仇(者)」的主 三顆頭
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題，創造了一幅充滿象徵的獨創視象，被李歐梵教授譽為魯迅一系列 《故事新編》裡「技巧最高、召喚力量最強」的
章。邢本寧一定讀
過《鑄劍》，但初試啼聲，
完全沒有向名家名
取暖的意思，而是
直面原典，興沖沖起了新爐
，以自己的思想和情感鼓風催火，一字
一句地錘鍊出屬於
和
《三》刻劃被復仇之志
個時代的《三顆頭》。 成命運共同體的三個男人，眉間尺、大王、
黑衣客，他們從一出場，便是三顆沒有手
沒有身體的人頭──原典
止於「三王塚」時，邢本寧才正要開始說話。以荒
劇為前提，
設
置了一個幾近於劫毀的處境，即「自從他們的頭被
下，月不西
，
日不東出，時間停止」，從此，三顆頭在場上的種種作為，只為了 脫
「活不了，也死不掉」的
望之境。
如此情節，如此情境，盡是張力生猛的設計，也需要大破大立的戲法 來對應。但，三顆頭能是主角人物
？演員有手有身，真能造型成有
說服力的「頭」？又，廢了身手，演員一張嘴如何發功，以維繫劇之 懸念？凡此種種，一開始很
人疑竇，也讓人萌生「看你能怎麼玩」
的興趣。邢本寧沒把難題全推給二度創作的導演和演員。從文本上， 我們看到
置入
個人熟稔且
愛的「棒球」元素，或作為象徵頭的
道具，或化用球迷波浪舞為肢體語言，或將場上術語發為守墓人的串 場話語，經演出證明，都成為有效的表演亮點。 在我來看，《三顆頭》最可疑的一筆，是編劇讓觀 三顆頭
早早就知道， 潑墨書房
脫之道擺在眼前：只要身兼說書角色的守墓人，將手中的雙劍互擊， 使之斷裂，陰陽自能歸位，日月和四季將能重新循環。然而，偏在 輕而易舉處，邢本寧往復地磨
：每一回，頭顱們交疊成極不平衡的
狀態，眼睜睜要看守墓人毀劍了，最後一 是我
那，只要眉間尺尖叫「
娘鑄的劍啊」，就注定功虧一簣——總計四十八回，守墓人只
能當著觀
的面，無奈地繼續拿松枝打月亮。
在不具「等待果陀」傳統的場域，膽敢安排
樣的等待和思辯，要有
多大的玩興和多強的信心！《三顆頭》究竟憑什麼「折磨」觀 透過守墓人的倒敘，我們慢慢得知：莫邪同丈夫 子，為了生鐵久久不化，
？
劍時，已懷上孩
不惜擲入精魂所繫的長髮指爪，致使自己
成了禿子，孩子一出生，也殘了半截眉毛。以眉
一尺有餘而得名的
眉間尺，為了索王頭報父仇，博得母親對他一笑，從小生活只有練劍 一事。飛上皇城宮牆時，他突然想到，「要是我取回了王頭，獻給了 娘親……娘還是不理我那該怎麼辦啊」？此一閃念，足以讓他當場軟 ，功敗垂成；斷頭之後，眉間尺不時會
起的母親的歌，想娘尋來
相見，又怕娘看到他淪為一顆破頭…… 「兒啊兒，兒啊兒，娘的懷中寶小心肝，快睡快睡快快睡，醒來長得 壯如山，一揮海枯江倒轉，二揮天崩鐵石
，直教那月停星止無昇
落，紅日莫敢懸！」，原來，編劇把全劇之祕，藏在眉間尺對母親的 想望裡，他每個心念的起伏，都與莫邪相關，此一執念，成了 三顆頭
個高 潑墨書房
度象徵的時空中，唯一的真實。 追求完美極致的巧匠如莫邪，愛劍甚於愛肉身凡胎育成的眉間尺。 一點，渴望母愛的眉間尺始終不明白（或不願承認），直到莫邪尋兒 上場，他才和觀
一起面對「殘酷」的真實：莫邪的搖籃歌，原來
「兒啊兒」召喚的是失落的雙劍，而不是他，母者神祕的咒語，終得 破解！ 干將、莫邪
個題材，過去曾兩度被拍成電影，無論《將邪神劍》或
《鑄劍》，都著重
染雙劍鑄成的神秘色彩。《三顆頭》雖然也設定
了奇異的人物形象，詭異的人生處境，但在「百無聊賴」的劇場上， 邢本寧叩問的，無寧是活著的意義。當眉間尺從執念裡
脫出來，毀
劍之舉終告成功時，守墓人有一段引人遐想的旁白：「話說那個時節 啊……雙劍互擊，月兒西，圓圓紅日起，莫邪抱劍如子，長髮如藤 蔓，又如蜘絲般地結成了網，碧落黃泉，黃泉碧落呀」。再怎麼把玩 荒
，邢本寧終究還是鋪入「諒解莫邪，同情眉間尺」的心聲，那是
三十二歲的編劇感應最深，也是觀
容易咀嚼而有所共鳴的生命經
驗。 從母子關係著眼，莫邪對於眉間尺，何其無情！但從獨立個體的角度 來看，當女人術有專攻，經濟獨立，便嚮往追求自我的極致，結婚生 養小孩，不再為其人生必然優先的選項──現代觀
對少子化的現實
體會良多，對《三顆頭》也應該會各遂所願、各言其志，給予多元的 三顆頭
潑墨書房
解讀吧。
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Pen-ning Hsing, a self-identified “old school novice” playwright, moved me the first time during the reading of her master’s thesis play, Red Cloak, Golden Arrow. This new play took inspiration from the Jingju (Beijing opera) classic Silang Visits His Mother. To be honest, before I attended the performance, I was not genuinely interested in it simply out of a personal bias: I always hold the idea that the artistic value of classic repertoire, especially a canonical piece like Silang Visits His Mother, is too high to be superseded. New adaptations, no matter how innovative, can hardly surpass the original texts. The aura of these original texts will dwarf the new adaptations. The baggage of adapting canonical pieces will to some extent offset any new playwright’s ambition to become a master. That Red Cloak, Golden Arrow commanded my full attention was 三顆頭
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beyond my expectations. I could sense Hsing’s mastery of Chinese literature and theatrical history in the text as well as the actors’ physical movements and singing. Her adaption retained all the essential elements of a traditional Beijing opera, a trait rarely accomplished in other adaptations. I was surprised that a novice playwright, as young as she was, could go beyond pre-existing adaptation strategies such as imitation, parody or “just play.” She loved the “age of innocence with social order” represented in most Beijing operas. In order to share what she loved with more people, she worked hard to come up with new ways of storytelling. Hsing impressed me with her skills of storytelling. She understood well that only those who reclaim a story as their own might earn the right to be remembered by the audience. Therefore, she gave the name Meng Jinbang to Yang Silang’s traditionally underappreciated wife and added a character, Meng’s daughter, who did not exist in the original text. This revisionist approach is a sincere and smart move, one which deeply moved the audience who attended the reading that night and generated such an atmosphere of warmth in the room. Later I got to know how arduous this creative process was from reading Hsing’s journals. In one of the chapters, she told us her experiences at the Odin Theatre in detail. Students from all over the 三顆頭
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world attended this workshop event. During the introduction session, while sitting together on the floor, the students were asked to introduce themselves with one or two sentences. Hsing had wanted to introduce herself as a playwright. However, since none of her plays had been fully produced, she felt that it was not legitimate for her to do so. She ended up saying, “there is nothing worthwhile in my life to brag about. If there is some achievement in my life, I would say I am a good daughter to my parents.” At the time when she embarrassingly made such a statement, Hsing was formulating ideas for Red Cloak, Golden Arrow as well as for Three Heads, a real achievement of a play that shows her commitment to becoming a serious playwright. These two plays were created around the same time. One seems to be avant-garde; the other appears to be traditional. Nevertheless, with a closer look, there are a lot of similarities between the two. As the author herself stated, the inspiration for Three Heads came from a story in Soushenji (In Search of the Supernatural), a fiction anthology penned by Gan Bao in the Eastern Jin Dynasty. In the story, Ganjiang and Moye, who were husband and wife, made a pair of invincible swords, one male and one female, for Emperor Chu.
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Before they presented the swords to the emperor, Ganjiang knew that he would be murdered and therefore left the male sword to his wife, telling her to pass it down to the unborn baby in her belly. The child grew up to become an avenger. He cut off his own head and handed it along with the sword to a strange swordsman. The swordsman successfully beheaded the king and soon after killed himself. The heads of Ganjiang’s son, the swordsman and Emperor Chu all fell into a cauldron and were cooked beyond recognition. Their remains were later buried together in a tomb named The Three Kings’ Tomb. This age-old legend was once adapted into a short story, SwordMaking, by Lu Xun. Lu Xun’s version purposefully blurs the motivation behind the swordsman’s assassination. Lu used surrealist techniques to turn this swordsman into a shadow man, strengthening the revenge theme and creating a unique vision filled with symbolic meanings. Professor Leo Lee called this story “the most skillful and luring” one in Lu Xun’s adaptations of old stories. Hsing must have read Lu Xun’s rendition; however, her adaptation does not leave a single impression that she is merely copying Lu’s idea. Instead it bypasses Lu’s idea; it tackles the original text head-on and is a completely new take. She fed her own thoughts and feelings to the creation process and created a unique modern rendition; Three Heads 三顆頭
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is a masterpiece of our contemporary era. Three Heads depicts the story of three men—Meijianchi, the Emperor and the Man in Black—who are bound up together as a unity by revenge. The new rendition picks up from where the original story stops: at the very beginning of the play, the three men are already three disembodied heads. Working within the framework of the Theatre of the Absurd, Hsing presents to us a setting of postapocalyptic devastation, where “ever since their heads were beheaded, the moon stopped sinking, the sun stopped rising and time just stopped.” The play aims to create a state of desperation, in which the three heads are caught in limbo, in “neither life nor death.” This absurdist scenario calls for designs of high drama; it also needs groundbreaking techniques to work. But how can we see three motionless heads as the protagonists? Is it really possible to create convincing illusions of disembodied heads out of live actors? How can the actors, deprived of most of their physical expressions, navigate the twists and turns in the plot with just their voices? These questions do make the audience suspicious of the quality of performance; at the same time, the questions pique our interest, making us wonder how she will pull it off. Hsing does not delegate
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this task to her directors and actors. Just by reading the script, we know that she provides solutions to some of these problems by putting in her favorite element—baseball. At times actual baseballs are used to symbolize the heads; sometimes, she incorporates the cheerleading wave movements of baseball fans into the movement patterns of the characters; sometimes, she peppers baseball jargons throughout the narrator’s asides to the audience. All of the above, when brought to the stage, proved effective as performance highlights. In my view, the most questionable and daring move in Three Heads is that the playwright allows the audience to see the dramatic resolution to the conflict, the way out, at the very beginning, while prolonging the final advent of that resolution. For the three heads to be liberated from the state of desperation, all it takes is for the Grave Keeper to break the swords by striking one against the other. Once the two swords are broken, the order of Ying and Yang will be restored; the cycle of the four seasons and the orbiting movements of the moon and the sun will restart. Nevertheless, whenever the moment of resolution comes, Hsing purposefully delays it. Every time when the three heads stack up in extremely precarious balance, awaiting 三顆頭
the
Grave
Keeper’s
latest
sword-breaking
attempt, 潑墨書房
Meijianchi would always hesitate at the very last moment, crying out “my mother made those swords” and bringing the formation out of balance. This repetitive failure is enacted twice onstage, but is said to have happened 48 times. Whenever the failure happens, the Grave Keeper can only hit the moon on the stage with pine tree branches in front of the audience. Hsing is brave enough to challenge the traditional stage space of Beijing opera with such Beckettian themes as repetitive failures and dialectical thinking. How innovative and tenacious she is! With what dramatic power can Three Heads engage the audience in such a lovehate relationship? With the retrospective narrative of the Grave Keeper, we gradually get to know that when Moye was making the swords with her husband, she was already pregnant. In order to melt the raw iron and forge the swords, she cast into the fire her long hair and nails which contained her spirit and soul. Her sacrifice made her bald; when the child was born, he was also missing half of his eyebrows. In fact, the distance between the child’s two eyebrows measured a foot in total, hence the name of Meijianchi (literally meaning “a foot-long distance between the eyebrows”). In order to avenge his father and make his
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mother happy, Meijianchi invested all his energy and time on practicing sword fighting. Once he landed on the walls of the palace, doubt came to his mind, “what if my mother is still displeased even after I take down the head of the emperor and hand it to her?” This thought was enough to make him go limp and abort his mission. After being beheaded, Meijianchi hums a lullaby taught by his mother from time to time, yearning for a reunion with his mother while feeling ashamed of being reduced to a rotten old head. Here is the lullaby. “Oh my son, my sweet son, the treasure in your mother’s arms. Go to sleep little boy, dear little boy. When you wake up you’ll be good and strong: enough to upturn the rivers and drain the sea; enough to break the sky and strike through rock; enough power to stop the moon and halt the stars, until no sun dares rise in your path.” The playwright embeds the motif of the play in Meijianchi’s yearning for maternal love. The movements of his feelings and thoughts are all tied up with Moye the maternal figure. His obsession with his mother becomes the only substantive emotional truth in this highly symbolic and surreal world. Moye, a perfectionist craftsman, loved the swords even more than her son. Meijianchi, always yearning for maternal love, cannot realize this
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fact (or is in constant denial) until the moment when Moye comes on stage to search for her son. This moment of revelation allows him, along with the audience, to confront this harsh and cruel truth: in the end, the lullaby is not meant for him, but for the lost pair of swords. The ultimate secret of maternal love is finally revealed! The story of Ganjiang and Moye has been adapted into movies twice. Both The General with Invincible Swords and Sword-Making capitalized on the mythical elements of the tale. Three Heads also puts emphasis on the eerie and eccentric qualities of the characters and their living situation. Nevertheless, on the stage of seemingly banal lives, what Hsing aims to invoke and provoke is the ultimate meaning of life. After Meijianchi finally makes peace with his obsession, and the swords are finally destroyed, the Grave Keeper describes the scene of the unraveling: “It was at that moment, that the twin swords struck each other, that the moon veered west, that the round red sun rose again. Moye held the swords like a child; her hair grew like vines, entangling into a spider’s web. Oh heaven and earth, heaven and earth. ” No matter how much absurdist flavor Hsing packs into this play, she sticks to the emotional core of “being sympathetic to Moye and empathetic to Meijianchi.” Such a choice is the playwright’s genuine concern, through which she sincerely 三顆頭
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presents her reflections on the nature of life, welcoming her audience to experience and feel the pulses and rhymes of living. With the mother-son relationship, Hsing shows us how cruel Moye could be towards her own son. However, if we take a feminist stance, we might be more understanding of Moye’s dilemma. Once women acquire professional skills and become financially independent, it is reasonable for them to pursue goals of self-realization. Getting married and giving birth to children would not be their priorities any more. Contemporary audiences must have a lot to say about our current social phenomenon of low birth rate. Therefore, we should be able to comprehend alternative and multiple interpretations of Three Heads.
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At first glance, Three Heads is very much rooted in the ancient eastern tradition. The performance style is informed and nourished by Chinese opera, since the director and the performers are all classically trained Chinse opeara actors; inspired by a Chinese legend said to take place around 500 B.C. and set to paper in the 4th century, the backstory of Three heads inhabits a mythical space so ancient, it feels almost out of time. Interestingly, it is at this uncanny point of nowhere-in-time that Three Heads comes face to face (heads to head?) with its other major influence: the sterile yet darkly humorous world of Samuel Beckett. Those with casual knowledge of Beckett’s genre-defining play Waiting for Godot would find the premise of Three Heads surprisingly familiar: the characters are trapped in a land where time seems out of whack, waiting for an oncoming something in both
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desperate anticipation and abject trepidation. To pass the time and amuse themselves, the characters play games, tell jokes and dwell on their pasts. Beckett enthusiasts may also be reminded of another one of his works, Play, in which three funeral urns, each carrying the limbless upper torso of one stock character, are all there is of the stage. Throughout the play, just as in Three Heads, the characters obsess over a shared past, their voices and facial expression the only tools of communication.
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《三顆頭》劇本 人物 莫邪：
世雙劍的鑄造者，眉間尺的母親，干將的妻子。
眉間尺／眉頭：干將、莫邪的兒子，從小以殺大王報父親血仇為己 志。 大王／王頭：奪走雙劍之一，殺死干將，酷愛收藏天下至寶。 黑衣客／客頭：向眉間尺索取頭和劍，矢言為之報仇的神秘人。 守墓人：專門看守眉間尺、大王、黑衣客三人頭。 干將：莫邪的丈夫，眉間尺的父親，為大王所殺。
劇中稱謂說明 一、眉間尺、大王、黑衣客三人在劇中沒有身體沒有手
時，簡稱為
眉頭、王頭、客頭。 二、干將由眉間尺扮演，故簡稱之為眉干將。
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三、莫邪由黑衣客扮演時，簡稱為客莫邪
故事大綱 滿月高懸，一座古墓中，有著三顆人頭和兩把劍。
三顆頭原本是大
王、俠客和鑄劍師干將、莫邪的兒子──眉間尺。他們為了干將、莫 邪所鑄的兩柄寶劍而身首分離，共葬一穴。三頭本當安息，卻放不下 對雙劍的執著，無法死去，也難轉活。心有所執，不生不死的頭兒 們，心煩意悶，狂歌亂吼。時間凝止，滿月無升無降。 莫邪當年為了將精魂鑄於劍中，曾將自己精魂所繫的頭髮和指甲剪 下，投入爐火，而成了一個禿子。自從劍為大王所奪，兒子眉間尺離 家，莫邪便出門尋子尋劍。終於，
聽見三顆頭狂暴的歌聲，隨聲而
至。眉間尺以為母親是為自己而來，不意母親真正尋找的竟是劍……
版本說明 本版劇本為2013年10月30至11月1日於中央大學黑盒子劇場演出之版 本。由馬寶山導演、周以謙編腔。張靜屏飾演莫邪，李彥龍飾演眉間 尺，陳元鴻飾演守墓人，兆欣飾演黑衣客，曾冠東飾演大王，彭郁 、葉俊麟極具創造力的現場演奏。如無大家的參與，三顆頭的劇本 不會是
觀 三顆頭
般面貌，謹誌謝忱。
進場 潑墨書房
光色幽暗，臺上有三把椅子，椅子上雙劍交
而立。
序曲 客頭：【唱】在 眉頭：【唱】
沒有太陽的世界裡，
兒有黃鶯婉轉雲雀飛？
王頭：【唱】走獸游魚也都不見了， 連那雲兒也無蹤，白雪不翻飛 客頭：【唱】人生天地何處歸？ 三顆頭：【唱】何處歸？
序場 【燈亮時，守墓人拿著內有三顆球的小鍋已然在臺上了。眉頭、王 頭、客頭也已經在三張椅子之後。】 【守墓人拿起小鍋晃動，三顆球在鍋內跟著晃動旋轉，三顆頭也相應 著晃動旋轉。】
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【球和頭有明顯的聯動關係。】 【守墓人拿出一顆球把玩，只要守墓人一動球，王頭就跟著動，守墓 人一停下，王頭就停下來。】 【守墓人又拿出一顆球把玩，只要守墓人一動
顆球，客頭就跟著
動，守墓人一停下，客頭就停下來。】 【守墓人拿出最後一顆球把玩，只要守墓人一動
顆球，眉頭就跟著
動了起來。】 【以上整個過程中，守墓人和三顆頭彷彿在不同的時空中。】 守墓人：【將三顆球逐一收入鍋中，三顆頭也逐一藏回到椅子後】各 位看
，你道今
月色甚好，靜如止水，天地寂寂？豈不
知，
鍋中是翻江倒海，倒海翻江？
手指沾鍋中，吮指，
箇中的滋味啊，【以
味道】，啊……像火燒？像刀割？說
不出啊。想知道？就隨我在日出之前，一同
在鍋
底，陳酒一般的故事吧。 【燈光轉換，守墓人下。】
第一場 話當年 三顆頭
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【三顆頭慢慢從椅子背後伸出頭來。】
圖說：三顆頭在永不西
的月下。
王頭：可惡，竟敢不準時 客頭：那
本來沒良心。
眉頭：……他會來的 王頭：敢和本王打
……
？
客頭：我
他啊，不會來。
眉頭：
……至少一半一半
三顆頭
！ 潑墨書房
客頭：啊？ 王頭：啊？ 客頭、王頭：哈哈哈！ 眉頭：
！
【光轉換，椅子處暗，上場門附近區域亮。】 【在光的變化中，三顆頭縮入椅子後。】 【守墓人
著草鞋持鍋與松枝，從上場門登臺。】
守墓人：【吟】月兒圓圓，白玉光光……【白】怎麼不太亮啊？ 【光轉換，月兒亮起。】 守墓人：【往三椅子走去】初一十五，別變調呀 【光轉換，隨著守墓人的
步，椅子處漸亮。】
【無有動靜。】 守墓人：【醒悟】有酒，頭兒們還不快出來！ 三顆頭
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【王頭率先伸出來，客頭、眉頭也跟著出來。】 守墓人：喝點，喝點！
圖說：據說莫邪削下了長髮，剪下了指爪，才鑄成了干將莫邪雙劍
【守墓人以松枝擊月。】 客頭、王頭：哈哈！你還打月亮？ 守墓人：你們不肯毀劍，我只好打月亮啊！ 眉頭：月亮打下來了
？
守墓人：【拿著松枝敲眉頭】打下來 三顆頭
你
！ 潑墨書房
眉頭：凹嗚！ 客頭、王頭：哈哈！ 守墓人：鬧
了沒？今兒個我來敘舊，你倆倒開
月亮還不是為了你們
啊？想當年，我打
！
王頭：又來話當年？ 客頭：纏
布
眉頭、王頭：又臭又長！ 守墓人：【以松枝指觀
】我就不信他們會
麼覺得，我偏要說！
【王頭、客頭、眉頭相看，都同意守墓人的說法。】 守墓人：當年黑衣客、眉間尺、大王被 便不西
雙劍一齊
掉了腦袋，月亮
，紅日再不東出，陰陽停滯，天地不行，
三顆頭
從此活不轉，死不掉，死不掉，活不轉地耗著……老頭我只 好和月亮拼了老命，把它給打下山去。 【守墓人其實已經沒力氣了，軟弱地又一擊。】
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眉間尺：【興奮地想像莫邪瀟灑地樣子】你真沒用，要是我娘啊！肯 定
一劍，就把月亮給刺下來了！
守墓人：【用松枝戳眉間尺】你娘要刺也是先刺你
報不成仇的！
眉間尺：【哀求】千萬別和我娘說，我沒報成仇啊！ 守墓人：【憐憫】
……
眉間尺：拜託了！ 守墓人：
娃兒眉間尺啊……雙劍正是他
娘干將與莫邪所造。造劍
的時節，他尙在娘胎。熔爐裡烈火熊熊，生鐵燒得通紅，卻 偏偏不融。
娘莫邪猛地舉手，削下了長髮，往熔爐裡一
投，才融化了生鐵，造成了雙劍吶！不料，大王奪走了雙 劍，還
死了干將，見血封喉。
【守墓人提到大王時，王頭伸出來。】 守墓人：眉間尺一出生，少了半截眉毛不說，還擔負了血海深仇！刺 殺大王談何容易，
娃兒去一次敗一次，敗一次又去一次，
沒臉回家見娘，直到遇上了黑衣客…… 【守墓人提到黑衣客時，客頭伸出來。】 三顆頭
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【王頭、客頭、眉頭形成了一個有張力的畫面。】 守墓人：不說了，不說了……總而言之，
三小娃兒全都斷了頭……
【守墓人手中松枝一垂，王頭、客頭、眉頭瞬間低頭，彷彿被劍斷 頭。】 眉間尺：【唱】兒啊兒，娘的懷中寶小心肝∼ 守墓人：
唱了，再唱你娘也聽不見。
眉頭：我娘會來找我的。 守墓人：上窮碧落下黃泉，只為找一顆破頭？ 【燈光轉換，氣氛色澤完全有別於前，呈現一個新的時空。】 莫邪：【內唱】干將莫邪…… 【莫邪邊舞蹈邊上，上窮碧落下黃泉地尋找失落的干將莫邪雙劍。 彷彿在一個虛設的想像空間中。】 眉頭：【眼睛
著莫邪】娘總要孩兒的。
【守墓人往劍比去，對觀 三顆頭
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去，對觀
示意，眉頭想的恐怕不切實際。】
莫邪：【唱】莫邪干將，封陽藏陰，髮爪齊化，魂神所聚。 劍兮子兮，子兮劍兮，上天入地，求索依依。 【守墓人聽到莫邪歌唱，隨著音樂將雙劍拾起舞蹈，與莫邪一直錯身 而過，彷彿要引領莫邪找到劍，但關
時刻，總是一個轉身讓莫邪找
不到……也彷彿兩人始終沒有看見彼此。】 【莫邪下場。】 眉頭：【彷彿目送著遠去的莫邪，一臉渴望母親】娘，你可知我在 兒？ 【燈光、音樂轉換。】 守墓人：月亮打不下，娘親等不來；娘親等不來，要脫離
月不西
，日不東出，不生不死之境，沒法兒，唯有「毀劍」！ 【燈光、音樂轉換。】
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Moye: The sword-smith who forged the world’s mightiest twin swords; the mother of Meijianchi and the wife of Ganjiang. Meijianchi/ Mei’s Head: The son of Ganjiang and Moye. The sole purpose of his life is to avenge his father, who was executed by the Emperor. Emperor/ Emperor’s Head: He took one of the twin swords and killed Ganjiang. He collects the treasures of the world. Man in Black/ MIB’s Head: A mysterious swordsman who demands Mei’s head and his sword and makes a vow to avenge Mei and his father. Grave Keeper: Look after the heads of Meijianchi, Emperor and Man in Black.
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Ganjiang: Moye’s husband and Meijianchi’s father. He was killed by the Emperor.
1. When the three characters, Meijianchi, Emperor and Man in Black, come on stage as bodiless heads, they are referred to as Mei’s Head, E’s Head and MIB’s Head. 2. When Ganjiang’s story is told in flashback, he is played by Meijianchi, and is therefore referred to as Mei-Ganjiang. 3. When Moye’s story is told in flashback, she is played by Man in Black and therefore referred to as MIB-Moye.
Under the full moon, inside an ancient grave, there are three heads and two swords. These heads used to be an Emperor, a swordsman and the son of the swordsmith couple Ganjiang and Moye. The three heads were separated from their bodies by the two swords created by Ganjiang and Moye, and were buried together. Because of the three’s obsession with the twin swords, instead of reaching eternal peace and sleep, the three heads are stuck in limbo, between life and death. In their frustration, these obsessed, undead heads try to pass the time 三顆頭
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with wild songs and grumbling growls. The time, by the way, has also stopped functioning. The full moon never sets. When Moye forged the swords, she cut off all her hair and nails— symbols of her soul—and threw them into the forge in order to imbue the weapons with her own essence. She has been bald ever since. When the Emperor took one sword, and the other one was given to Meijianchi with which to seek revenge, Moye began a search for son and swords. Upon hearing the wild songs of the three grumbling heads, she traced the noises to the grave. Meijianchi thought she had come for him, but really, what his mother really wanted were the swords…
This version of Three Heads was presented at the Black Box Theatre at National Central University in Chungli, Taoyuan in 2013, from October 30 to November 1. The director was Pao-shan Ma. Moye was played by Chin-ping Chang, Meijianchi was played by Yen-lung Lee, the Grave Keeper was played by Yuan-hung Chen, the Man in Black was played by Hsin Chao, and the Emperor was played by Kuantung Tseng. Their creative input shaped the play, and the playwright is forever grateful for their contributions.
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Houselights are dim. There are three chairs on stage. Two swords are placed upright on the chairs, crisscrossing each other.
MIB’s Head: (sings) In this sun-less world Mei’s Head: (sings) Where can you find sweet songbirds taking flight? E’s Head: (sings) No beasts roam; no fish swim Not even clouds are in sight, no snowflakes fall MIB’s Head: (sings) Where do we go in this life? Three Heads: (sing) Where do we go?
Lights come on onstage, where Grave Keeper is already standing, carrying a small pot with three balls inside; Mei’s Head, E’s Head and MIB’s Head are 三顆頭
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also already in position behind the chairs. Grave Keeper rolls the three balls around in the pot; adhering to the movement of the balls, the three head turn, roll and bop. It is apparent that the heads and the balls share the same movements. Grave Keeper takes a ball out of the pot and plays with it. E’s Head moves along with the ball, in motion when it moves and stopping when it stops. Grave Keeper takes another ball out of the pot and plays with it. MIB’s Head moves along with the ball, in motion when it moves and stopping when it stops. Grave Keeper takes out the last ball and plays with it. Mei’s Head moves along with the ball, in motion when it moves and stopping when it stops. Through all of the above, it seems that GK and the three heads are in two different planes of existence. GK puts away the balls one by one; one by one, the three heads return to their places behind the chairs. Grave Keeper: (while putting away the balls) Hello, honorable guests! 三顆頭
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Look at this moonlit scene of serenity and solitude. Wouldn’t it surprise you to find that in this very pot, a heated maelstrom is in progress? Oh, such intensity, such hidden flavors… (dips a finger into the pot and sucks on the finger for a taste) Oh! Is the taste like flames burning, or knives cutting flesh? I cannot describe it. Do you really want to know? Well then, before the sun rises, come with me, and we shall savor this tale, draw it forth from the bottom of this pot, like the finest vintage long forgotten. Lights change; Grave Keeper exits.
The three heads gradually stick their heads out from behind the chairs. E’s Head: Dammit, he is late again. MIB’s Head: He never really cared about any of us. Mei’s Head: (hesitant) He will be here.
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E’s Head: Do you want to bet? MIB’s Head: I bet he won’t show. Mei’s Head: Well, umm… It’s really a fifty-fifty chance. MIB’s Head: Eh? E’s Head: Eh? E’s Head & MIB’s Head: Ha ha ha! Mei’s Head: (annoyed) Humph! Lights shift, dimming around the three chairs and refocusing upon the stage entrance. During the light cue, the three heads retreat behind the chairs. Grave Keeper enters from stage entrance, wearing hemp-woven shoes and carrying the small pot and a pine branch. Grave Keeper: (chants) Oh the round moon, shining jade-white… (Switching to prose) But it does not seem to shine
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tonight? Lights shift; on the backdrop, the moon begins to glow brightly. Grave Keeper: (Moving towards the three chairs) There’s the first of the month, there’s the fifteenth – got to follow the rhythm! Lights shift. As GK approaches, the three chairs are illuminated. The three heads remain behind the chairs. Grave Keeper: (Realization dawns) There’s wine! won’t you heads come out and play? Emperor’s Head emerges first from behind the chair; the other two follow suit. Grave Keeper: There you go, drink up, drink up! GK makes striking motions at the moon with the branch. E’s Head & MIB’s Head: Ha ha! Are you still hitting the moon?
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Grave Keeper: Well, you won’t agree to destroy the sword; what else can I do but strike the moon? Mei’s Head: Did you manage to strike it down? Grave Keeper: (knocks Mei’s Head with the pine branch) I’ll strike it down on your head! Mei’s Head: Ouch! E’s Head & MIB’s Head: Ha ha ha ha! Grave Keeper: Are you done being fools? I am here to reminisce about the good old days, not to be laughed at by you two. Don’t you know that ever since back in the day, I’ve been striking the moon for you? E’s Head: There he goes, babbling about the old days again! MIB’s Head: Like a lady’s foot-binding cloth… E’s Head & MIB’s Head: … stinky and never-ending! Grave Keeper: (points to audience with branch) I am sure they think 三顆頭
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otherwise. Watch me tell it! The three heads exchange looks of consent. Grave Keeper: Once upon a time, the Man in Black, Meijianchi and the Emperor lost their heads all at once by these twin swords. Since then, the moon has not set, and the sun has not risen; the forces of Ying and Yang ceased to circulate, and the world was at a standstill. These three heads have been locked in limbo, too dead to be alive, too alive to die… And me, the old man, could only do my best, to challenge the moon, to strike it down. At this point, Grave Keeper has no strength left. He gives another feeble strike. Mei’s Head: (excitedly imagining Moye’s moves) You are useless! If my mother were to undertake this task, she would have struck the moon to the ground with just one swing of the sword! Grave Keeper: (pokes Mei’s Head) She’d give you one swing first, you 三顆頭
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failure of an avenging son! Mei’s Head: (begging) Please please Don’t tell my mother that I didn’t complete the job! Grave Keeper: (pitying) Oh… Mei’s Head: Please! Grave Keeper: This is Meijianchi; the twin swords were forged by his parents, Ganjiang and Moye. He was in his mother’s belly when the swords were forged. Oh how the fire blazed in the crucible, and how red the glow of the iron! Still, no matter how the smiths tried, the iron just would not melt into shape. Moye, the mother, shaved off her hair in one fell sweep, tossed it in the crucible, and finally melted the iron to forge the twin swords. No one could have anticipated the reward for their craft: the Emperor killed Ganjiang, and took one of the swords for himself. Emperor’s Head emerges when he is mentioned.
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Grave Keeper: When Meijianchi was born, not only was he missing half of his eyebrows, he was also burdened with bloody revenge. Just consider how hard it is to assassinate an Emperor! The boy tried and failed, again and again, not daring to return to his mother with the disappointing news. Finally, he ran into the Man in Black… As GK mentions the Man in Black, MIB’s Head emerges. The three heads settle into an energized, tension-filled tableau. Grave Keeper: Ah, I won’t say more, no more. Anyway, at the end of it, all three of these boys lost their heads. GK lets the branch droop; at the movement, all three heads hang their heads, as though chopped off by a sword. Mei’s Head: (sings) Oh my son, the treasure in your mother’s arms… Grave Keeper: Knock it off already. No matter how hard you sing it, she can’t hear you. Mei’s Head: My mother will come for me. 三顆頭
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Grave Keeper: What, searching high and low, far and wide, all for a rotten old head? Lights change, creating a whole new atmosphere and representing a different space and time. Moye: (O.S. singing) Ganjiang and Moye… Moye dances a symbolic search as she enters the stage. She is searching high and low, far and wide, all for the lost twin swords named after herself and Ganjiang. She is in an alternate plane, an imagined space. Mei’s Head: (staring at Moye) Mothers will always want their sons. GK gestures significantly towards the swords, showing the audience that what Moye wants is probably the sword; he gestures towards Mei, silently commenting that Mei’s hopes are unrealistic. Moye: (Sings) Ganjiang and Moye, Imbuing moon and sun; ITrading tresses for the soul of iron,
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IMightiest swords they spun.
ITheir son’s born with the swords, IThe swords, their sons. IScouring heaven and earth, ITheir sons will be found. Along with Moye’s song, GK begins dancing with the two swords; Moye and GK dance within the same stage area, but never come into contact; it is as if he wishes to lead Moye to the swords, but always at the last moment, he turns away so that Moye cannot reach him. Or, perhaps, the two never saw each other. Moye exits. Mei’s Head: (as though watching his mother fade from view, full of hope and want) Mother, do you know that I’m here? (Lights and music shift.) 三顆頭
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Grave Keeper: The moon won’t go down and the mother won’t come; if the mother won’t come, the only way out of this rot, this place between life and death where the moon doesn’t fall and the sun doesn’t rise, is to destroy the swords! (Lights and music shift again.)
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版權 《表演台灣彙編：劇本、設計、技術， 戲曲劇本館
》
《三顆頭》
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／邢本寧 戲劇製作／本事劇團 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 英文翻譯／劉微明 英文校對／許仁豪 法律顧問／李友琦 製作公司／潑墨數位出版行銷有限公司 三顆頭
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發行日期／2013年10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/9789860402513(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/Pen-ning Hsing Producer/Benshi Theatre Editor in Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan Assistant Editor/Chia-ling Tsai Translator/Wei-ming Liu Proofreader/Jen-hao Walter Hsu Legal Consultant/Yo-chi Li Digital Production/Puomo Digital Publishing & Marketing, LLC.
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Publication Date/October 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/9789860402513(ePub)
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