目錄／
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.
封面／Book Cover 目錄／Content 總編輯的話／From the Editor in Chief 導言／Introduction 製作單位＆製作人自序／Self-descriptions from Production Team and Producers 導演 釋概念／Director's Interpretations and thoughts 設計群創作概念／Design Team's Notions of Creativity 首部曲《初生》劇本 Part I The Birth Script 二部曲《長大的那一天》劇本 Part II The day of Growing up Script 終曲《消失─神木下的夢》劇本 Part III The Passing-a Dream Under Sacred Tree Script 附錄1 影音精選與音樂／Video Clips＆Music 附錄2 飛人集社劇團＆東西社簡介／Flying Group Theatre＆ L’EST et L’OUEST 附錄3 首演資 ／Premiere info 附錄4 幕後製作相關／Behind the Scenes 附錄5 延伸閱讀與迴響評論／Other Documents. Feedback and Reviews 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 一睡一醒之間三部曲
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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 一睡一醒之間三部曲
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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 一睡一醒之間三部曲
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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 一睡一醒之間三部曲
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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 一睡一醒之間三部曲
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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 一睡一醒之間三部曲
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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 一睡一醒之間三部曲
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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 一睡一醒之間三部曲
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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 沒有人像
般低頭看自己的肚臍
文／傅裕惠（劇場工作者）
認識佩玉的時候，我記得
的名字是跟「創作社」連在一起；現在的
石佩玉，名字等於「偶戲」。
中間的轉彎，不知花了佩玉多少力
氣。時間約莫是二○○四年第三屆女節前夕，佩玉突然跟我說，
有
一個劇團了，叫「飛人集社」。身為邀演的女節策劃人之一，我
個
敲邊鼓的人，完全不明白成立劇團要耗費多少元神氣力；但更意外的 是，
個一向以「執行製作」的角色行走「江湖」的女孩兒，居然敢
斷然放棄累積的製作成績，轉而擁抱一個更不確定的未來──偶劇創 作。 那時，我還有點低估了
的決心。結果，不到五年的時間，石佩玉從
一位中小型劇場製作人，轉型為偶劇創作者和獨立策展人。 用「苦媳婦熬成婆」來形容
十年飛人集社的努力和波折，毫不為
過。除了作為一位理性節制的製作人，石佩玉用更熱情和感性的心， 投入了臺灣偶戲生態創作；跟在
身後的一班女傑，有的為了跟
習製作、有的是體驗物件和偶戲表演，有的根本是為了仰慕 一睡一醒之間三部曲
學
的風采 潑墨書房
和浸
對朋友的溫暖。正如「飛人集社」之名，卻不像《魔戒》一
班人馬險境歷劫的苦難悲觀，佩玉很能引領
的合作夥伴，以最沒有
負擔的方式，步步邁向臺灣現代偶劇創作的前線。 二○一○年，佩玉發願策劃製作了第一屆「超親密小戲節」；原來以 為事情會發生在住宅或工廠的屋頂，後來變成奇想般的
弄旅行。而
二○一一年，佩玉與好友周蓉詩所主持的法國劇團「東西社」，偕手 打造了【小孩也可以看系列：一睡一醒之間】──首部曲《初生》、 二部曲《長大》和去年完成的終曲《消失》。一樁為兒童圓夢的心 事，卻成了臺灣與法國偶劇創作的一次範例，石佩玉完成了「飛人集 社」最完整和成功的作品。 在
一系列作品發生之前，石佩玉偏向由「生活和生命狀態」的情境
入手創作。其中
些生命組曲作品像《廚房》（2004）、《浴室》
（2007）、《房間》（2008）和近作《測量》等，多少都在於實踐石 佩玉對於日常物件和生活情態的信念──越尋常的物品越能有想像的 故事。不過
三齣「小孩也可以看」的三部曲作品，反而得從其他創
作者想像的夢境中，提 編劇周蓉詩為
出最能述說故事的精華。
三部曲鋪陳了最深厚的內在情感──一位母親對子女
未來的深切叮嚀；法國馬賽知名插畫家莒絲蓮．額貝哈（Ghislaine Herbéra）將想像的元素賦予具象的色彩和表情，為
三齣作品找到了
說故事最美好的管道。作為偶劇導演最難的挑戰是，石佩玉得用獨特 一睡一醒之間三部曲
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的觀察和剪輯，將
長串的情節，架塑出一幕幕多采多元的「視覺鏡
頭」，並且找到說故事最合適的媒介，例如光影、剪紙、聲音變化、 小偶、木紙工和現場即興音樂等，突破過往偶戲只能以「偶的動作與 臺詞對嘴」的傳統制式表演。單就
三齣戲的「鏡頭變化」來說，石
佩玉靈活的編導調度已經塑造了國內少見的創作成績。 和電影或電視的鏡頭變化不一樣的是，偶劇的視覺鏡頭變焦，取決於 聽故事者的情感感受，和說故事的人要觀
進入什麼樣的想像。例
如，《初生》裡女孩兒旅行用的行李箱，在動念之間，轉瞬變為大海 裡的鯨魚；當《長大的那一天》裡那一對青梅竹馬的男孩、女孩，看 見漁夫釣起那隻人魚，石佩玉運用
最擅長的投影片和光影，交織出
人魚世界的另類空間。《消失─神木下的夢》說的是自然的「死 亡」，偏偏故事中
對姐弟卻在好奇心作祟下，墜入神木樹洞裡，遇
見「非典型」的龍王；《消》劇處理的是最抽象的「不存在」概念， 而故事裡無法面對母親死亡的姐弟，也同時迫使兩位編導面對自己最 深沈的恐懼──偏偏
恐懼和缺席，已隨著時間，如此自然存在著。
同樣地，我們看到石佩玉擅長的皮影、光影觸感，展現在觀
存在的
黑箱視覺鏡頭裡，導引著我們的想像。 我不是小孩，早已不是，卻也能在 作《測量》時，
三部曲中，自得其樂！在佩玉創
曾經不只一次地跟我說，
很焦慮，
己不會說大人的故事了。我想，佩玉大概忘了一件事，在
突然覺得自
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的戲裡，
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所有媒介都已經沒有界限；所有題材也早已交融一起。即使，三部曲 說的是孩子的故事，但其實大人也應該聽；因為從新聞和經驗來看， 通常都是大人最想不開。石佩玉不急著批判 自己。所以
揶揄自己說，大概沒有人像
個世界，
習慣先檢
那麼愛低頭看自己的肚臍
了！我看到佩玉的「肚臍」又深、又廣，而且還泊著一
船，
船
還往遠洋駛，駛向一個我們都想跟著的方向。
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When I first met Pei-yu, I recalled her to be associated with the Taiwanese theatre group Creative Society; but now, her name has become a label for puppet theatre. It is difficult to measure the effort it took for her to make this turn. It was shortly before the 3rd Taiwan Women Theatre Festival in 2004 took place that Pei-yu told me out of the blue that she had started her own company called “Flying Group Theatre”. As one of the curators who invited her to the festival and in my role as a facilitator, I did not have a clue how much energy it would take to establish a theatre company. Even more surprisingly, this girl, who had made her career as “associate producer”, was willing to give up her accomplishments in the industry and embrace an uncertain future— as a puppet theatre maker. I underestimated her determination back then. Within less than five 一睡一醒之間三部曲
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years, she managed her way from a small-mid scale theatre producer to an artist and independent curator in puppet theatre. It is no exaggeration to say that Flying Group Theatre has been through tireless strife in the past ten years. While acting as a prudent and sensible producer , Pei-yu has also devoted herself to puppet theatre in Taiwan with passion and sensibility. The group of brilliant women behind her joined her path for different reasons: some wanted to learn about theatre production; others came to experience objects and puppets in action; still others joined out of admiration for her and the pleasure to be immersed in the warmth of her friendship. As the name of the company suggests, but without the bitter pessimism like that of the group of survivors in The Lord of the Rings, Pei-yu has competently led her team, step by step, to the frontline of contemporary puppet theatre in Taiwan in a manner that was least burdensome. In 2010, Pei-yu was curator for the first Close to YOU Festival; what was originally planned as an event on the rooftops of residential buildings or factories turned out to be a fantastic journey in the urban alleys. And in 2011, Pei-yu created the “For you, my children” series with L’EST et L’OUEST, a French theatre company founded by her 一睡一醒之間三部曲
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close friend, Jung-shih Chou: the trilogy of “Entre repos et l’éveil” (“The Passing-a Dream Under Sacred Tree”)— La Naissance (The Birth), Le jour de Grandir (The Day of Growing Up) and the final episode La Disparition : rêverie sous l’arbre de mille ans (The Disappearance: the dream under a thousand-year-old tree), which was completed last year. What started out as an attempt to fulfill children’s dreams became a model work of Taiwan-France collaboration in puppet theatre. This series has become the most complete and successful production of Flying Group Theatre so far. Before the “For you, my children” series took place, Pei-yu was more inclined to start her work by exploring the scenarios of “the conditions of living and life itself”. Works such as The Kitchen (2004), The Bathroom (2007), The Room (2008) and her recent work The Measure (2014) are all more or less about her own concepts in the everyday objects around us and the various shapes of living—the more ordinary the object, the more imaginative it could be. Unlike these previous productions, however, in the trilogy, Pei-yu found the essence of story-telling, not in the everyday life, but in the imaginative world of the collaborating artist, playwright Chou, Jung Shih.
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Jung-shih Chou’s script infused the deepest human emotions into the trilogy—a mother’s thoughtful advice to her children for the future; and the renowned Marseille illustrator, Ghislaine Herbéra, gave concrete colors and expressions to these imaginative elements, finding the most wonderful approach to the narrative in the three productions. As a director in puppet theatre—and this is the greatest challenge in directing puppet theatre— Pei-yu had to frame and edit the plot with her observant eye, turning the story into a kaleidoscope of “visual shots” scene after scene; and find the most suitable medium to tell the story, for instance, with the play of light and shadows, with paper-cuts, intonations, miniature puppets, woodcraft, paper art, music improvisation, and so forth. This was a breakthrough to the conventional understanding of puppet theatre, in which the expression is limited to synchronizing the movement of the puppets with the lines. With this variety of the “visual shots” alone, Pei-yu’s creativity as a director has already reached a high level that is rarely seen in Taiwan. Different from the change of shot in film or television, the change of focus in puppet theatre depends on the feelings of the listeners, as well as where the narrator would like to bring them. For example, the girl’s suitcase in La Naissance is transformed into a whale in the 一睡一醒之間三部曲
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ocean in a fleeting moment; as the boy and girl in Le jour de Grandir see the fisherman catching the mermaid with his pole, Pei-yu opens up an alternative space of the mermaid world woven by light and shadows, as well as by the images she skillfully creates with the overhead projector. La Disparition talks about the natural process of death; in the play, however, we see the sister took her brother fall into the tree hollow because of their curiosity, and meet a rather unconventional Dragon King. La Disparition deals with the abstract idea of “cease to be”, and the sibling in the story that cannot face the death of their mother has forced the director and the playwright to face their own deepest fear—although this fear and absence have gradually become a most natural existence. Here, again, we witness how Pei-yu’s skillful play of light and shadows guides our imagination in this black-box with audience, with her visual shots. Though my childhood has long gone from my grasp, I can still enjoy myself a great deal in the trilogy! While she was making The Measure, Pei-yu told me more than once that she was very anxious, because she felt that she no longer knew anymore how to tell a story of grown-ups. In my own perspective, Pei-yu has perhaps forgotten that in her works, all media are not limited by existing boundaries anymore, and all subject matters have long since merged with one 一睡一醒之間三部曲
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another. Although the trilogy tells stories of children, but grown-ups should listen to them as well; judging from the news and experiences, usually grown-ups are the ones that often take things too hard. Pei-yu does not jump to criticizing the world, instead, she would examine herself first. With a bit of self-deprecation, she said that perhaps there is nobody like her that loves gazing at her own navel so much! But I see that this “navel” is deep and spacious, with a ship moored that is sailing into the open seas, in a direction that we all would like to follow.
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首部曲《初生》劇本
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序 【持偶人提著箱子走進，放好箱子。】 持偶人：很久很久以前，當我還在媽媽的肚子裡的時候，我做了好多 好多的夢。 【箱子上有投影。】 持偶人：但是，大部份的夢都輕飄飄地溜走了，只有
一個留了下
來。
【持偶人一打開箱子，裡頭出現波濤洶湧，像是大海嘯的聲音，蓋上 箱子。】 一睡一醒之間三部曲
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持偶人：
是一個很奇妙的夢……
【再度打開箱子時，聽到海浪的聲音以稍作平息，接著有個小女孩 （偶）先探出頭。然後走出箱子。】 【小女孩看看四周，已經是風平浪靜的樣子。坐定之後，
敲敲箱
子。】 小女孩：醒一醒！ 【小女孩站在箱子上看著海面。】 小女孩：你看，天氣那麼好！ 【箱子沒動靜。】 小女孩：【更用力敲箱子】醒一醒！
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【箱子還是沒動靜。小女孩招招手示意需要有人來幫忙。另一個操偶 人走進小女孩，把箱子打開。】 【箱子被打開 ；變成鯨魚。】 小女孩：【看看鯨魚】 次遇到
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樣才對嘛！【停】我們旅行了
樣的大風大浪，就像大海嘯一樣，不是
麼久，第一 ？
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第一場 鯨魚與蛋
【鯨魚咳嗽。】 小女孩：怎麼了？ 【小女孩擔心地摸摸鯨魚的額頭，看它有沒有發燒。】 小女孩：你生病了？ 【鯨魚咳嗽更用力，好像噎到什麼東西。】 小女孩：什麼……？等等，不要激動，我去看看。 一睡一醒之間三部曲
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【小女孩爬進去鯨魚的肚子裡。有一顆發著光的蛋在鯨魚的肚子飄啊 飄。】 【小女孩抓住 小女孩： 鯨魚：
顆蛋，爬出坐到鯨魚背上。】
是什麼 ？ 是什麼？
是一顆……
小女孩：你的鯨魚蛋！！ 鯨魚：我不生蛋，我生鯨魚寶寶。 小女孩：就是說嘛，鯨魚怎麼會生蛋！ 【小女孩把蛋塞在衣服裡。】 小女孩：那麼，我要當他的媽媽。 鯨魚：不行不行，我們得把他還給他的媽媽。 【小女孩把蛋抱得更緊。】 小女孩：不要，現在他是我的！
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鯨魚：要！ 小女孩：不要 ！我要把他留下來！ 鯨魚：不行
！
小女孩：行！ 鯨魚：還給他的媽媽！不然他會死掉的。 小女孩：你亂講！他才不會死！ 鯨魚：會！ 小女孩：不會！我會好好地照顧他的。 鯨魚：【嘆氣】他會死掉的。 【小女孩想了想，嘆口氣。
把蛋拿出來，放在鯨魚的背上。】
小女孩：為什麼你說他會死掉？你看，他
麼漂亮……
鯨魚：所以應該讓他長大。 小女孩：【想了想】你說的對，我們應該把他還給他的媽媽。我很想 一睡一醒之間三部曲
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知道他到底會長成什麼樣子！我們出發吧！
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The puppeteer walks in with a box. Set the box. Puppeteer: Once upon a time, when I was still in my mother’s womb, I had so many dreams. Projection on the box. Puppeteer: However, most of them floated away. There was only one left.
When the puppeteer opens the box, some sounds and an image of tsunami appear. The puppeteer closes the box.
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Puppeteer: That one, was a wondrous dream…… Open the box again. The sound gets quieter. A little girl (puppet) leans her head forwards, and then walks out of the box. The little girl looks around. It’s quite and peace. After sitting in the position, she knocks the box. Little Girl: Wake up! Wake up!
The little girl stands on the box and looks at the sea surface. Little Girl: Look! The weather is so nice!
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Nothing changed. The little girl knocks harder on the box. Little Girl: Wake up! The box is still the same. The little girl waves her hand to ask for help. Another puppeteer comes closer to the little girl and opens the box for her. The box is opened and it turns into a whale. Little Girl: (Looking at the whale) Now you’re talking! (Stop for a second.) We’ve been traveling for a long time, but this is the first time we have ever met such great winds and huge waves. Like a tsunami, isn’t it?
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The whale is coughing. Little Girl: What’s wrong? The little girl gently touches the whale’s forehead to see if the whale is having a fever. Little Girl: Are you sick? The whale coughs even harder, like being chocked.
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Little Girl: What…? Hold on. Don’t panic. I’ll check it for you. The little girl climbs into the whale’s belly. A shinning egg is floating inside. The little girl holds this egg and climbs out. She sits on the whale’s back. Little Girl: What is that? Whale: What is that?? It looks like… Little Girl: A whale egg! Your egg! Whale: I don’t lay eggs. I only deliver little whale babies. Little Girl: You are right. It’s impossible for you guys to lay eggs. The little girl puts the egg inside her cloth. Little Girl: Well then, I’m going to be its mother. Whale: No, you can’t! We should return it to its mother. The little girl holds the egg tighter. Little Girl: No way! It’s mine now! 一睡一醒之間三部曲
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Whale: It is not! Little Girl: It is! I’m going to keep it with me. Whale: You can’t! Little Girl: I can! Whale: Give it back to its mom, otherwise it will die! Little Girl: Don’t say that! It won’t die! Whale: It will! Little Girl: No, I’ll take good care of it! Whale: It will die. The little girl thinks for a while and sighs. She takes the egg out and puts it on the whale’s back. Little Girl: Why did you say that? Look, it’s so pretty…… Whale: So we should let it grow up and have a bright future.
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Little Girl: You are right. We should bring it back to its mom. I would really like to know what it will be after it grows up. Let’s go!
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二部曲《長大的那一天》劇本 第一場 前往魔法森林 說書人：當我還是小女孩的時候【女偶Ｐ出現】，我有一個小男朋 友。 小男孩出現。男偶Ｐ出現。 說書人：既然我
麼喜歡他，我就想要嫁給他。
小男孩：但是要等長大的那一天。 說書人：既然長大的那一天沒有馬上就來，我們就決定去找它。
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【在路上。】 小女孩：假裝
是我們第一次見面。
小女孩Ｐ：哈囉。 小男孩Ｐ：哈囉。 小女孩Ｐ：你覺得我漂亮
？
小男孩Ｐ：很漂亮。 小女孩Ｐ：那我們結婚吧！
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小男孩Ｐ：好啊！ 小女孩：不是
。沒有
麼快！要等長大的那一天。
小男孩：可是，我們在玩。 小女孩：哦！好吧！我們在玩。 小女孩Ｐ：那我們結婚吧！ 小男孩Ｐ：好啊！ 小女孩：不是
！
有
麼快！你要說：「讓我考慮一下。」
小男孩：考慮什麼？ 小女孩：像是「讓我看看你會不會唱歌。」 小男孩Ｐ：那你會唱歌
？
【小女孩唱。音樂進（一首歌）。】 小男孩Ｐ：好好聽。 小女孩Ｐ：那我們結婚吧。 一睡一醒之間三部曲
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小男孩Ｐ：好啊。 小女孩：還沒有
麼快。你還要看看我會不會其他的。
小男孩Ｐ：那你會……畫畫
？
【小女孩畫。（OP進，投影在箱子上。大手畫線條。）】 小女孩：怎麼樣？ 小男孩：很漂亮。 小女孩Ｐ：那你要娶我
？
小男孩Ｐ：好啊！ 小女孩：等一下。問我會不會游泳。 小男孩Ｐ：游泳……？我也會。 【撲嚕撲嚕。小男孩Ｐ假裝沈到水裡了】
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小男孩Ｐ：救命啊！我危險的時候你會救我
？
小女孩Ｐ：會啊。【拉小男孩一把】 小男孩Ｐ：太好了。那我們結婚吧。 小女孩Ｐ：等一下！你想為什麼我們等了那麼久，長大的那一天還沒 來？ 小男孩Ｐ：真的有長大的那一天
？
【小女孩Ｐ畫地圖，在地圖上標出「長大的那一天」，OP投影在箱子 上。】 一睡一醒之間三部曲
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小女孩Ｐ：你看！它在那裡！我們去找它吧。 小男孩Ｐ：【疑惑】有
麼簡單
小女孩Ｐ：【想一想】應該要先
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？ 過森林。
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一睡一醒之間三部曲
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【擺出森林。拿出手電筒打向森林模型。 】 【三人移走箱子，讓地圖打在螢幕上變成大的地圖。兩人Ｐ走進地圖 影子裡。】 【轉場。剪影+OP投影。】 【大眼睛在看著他們，還有很多的小眼睛。剪影的眼睛
呀
。】
魔法森林的冒險 【抵達森林。樹木從地面升起，瞬間長得又高又大。林間有些奇怪的 生物
梭經過，好奇的眼光窺伺。】
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Storyteller: When I was a little girl, I had a little boy friend. Little boy shows up. Male puppet P shows up. Storyteller: Since I liked him very much, I wanted to marry him. Little boy: But we have to wait for the day of “growing up”. Storyteller: Considering that the day of “growing up” didn’t come immediately, we decided to find it.
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On the way. Little Girl: Let’s pretend it’s our first meeting. Little girl P: Hello. Little boy P: Hello. Little girl P: Do you think I’m pretty? Little boy P: Yes, you are. Little girl P: Well, let’s get married!
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Little boy: Perfect! Little Girl: Wait. No…not so fast. We have to wait for the day of “growing up”. Little boy: But we are playing now. Little Girl: oh, okay. We are playing. Little girl P: Let’s get married! Little boy: Perfect! Little Girl: Wait. No…not so fast! You should say: “Let me think about it.” Little boy: Think about what? Little Girl: Such as…“Show me if you can sing.” Little boy P: Well, can you sing? the little girl sings. Music in (one song). Little boy P: You sang very well. 一睡一醒之間三部曲
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Little girl P: Well, let’s get married. Little boy P: Perfect! Little Girl: Not that fast. You have to ask me if I can do anything else. Little boy P: ah…can you…can you draw? the little girl paints. OP in. Shadow on the box. The big hand draws some lines. Little Girl: How about this? Little boy: Very nice. Little girl P: Well, will you marry me? Little boy P: Okay! Little Girl: Wait. Ask me if I can swim. Little boy P: Swim? I can swim as well.
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Little boy P fakes drowning. Little boy P: Help! Will you help me if I’m in danger? Little girl P: Of course I will. (gives the little boy a hand) Little boy P: Perfect. Let’s get married. Little girl P: Wait a second. Have you wondered that……we’ve been waiting for the day of “growing up” for such a long time, but why hasn’t it come yet? Little boy P: Does that day really exist?
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Little girl P draws a map and marks “the day of ‘growing up’” on it. OP projects the image of the map on the box. Little girl P: Look! It’s over there! Let’s go for it. Little boy P: (Doubting)Will it be that easy? Little girl P: (Pondering)We should go through the forest first.
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一睡一醒之間三部曲
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Set the forest. Use torch to lighten the model of the forest. Three people move the box away. Project the map on the screen so it can be bigger. Two characters walk into the image of the map. Cut Silhouettes and OP projection. Lots of big eyes are staring at them, as well as many small eyes. The eyeshaped silhouettes are blinking.
They arrive at the forest. Suddenly, trees grow bigger and taller. Some 一睡一醒之間三部曲
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strange creatures go back and forth in the woods, peeping at them with curiosity.
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終曲《消失 神木下的夢》劇本 第一場 另一個世界的入口 說書人１：很久很久以前，在很遠很遠的地方，有一
千年的神木，
傳說中，千年神木下有一個入口，通往另一個世界。 說書人２：然而
只是個傳說……
說書人１：但是有兩個小孩，他們卻深信不疑…… 【喪禮。大人忙，小孩找機會問話。】
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弟：【拉著大人的衣角問】什麼時候我才能再看到媽媽？ 【大人１摸摸小偶的頭，嘆了口氣，走開了。】 弟：
去
大人２：
裡了？ 會去
裡
？……去……【含含糊糊】另一個世界。
【姐姐把弟弟拉近自己身邊，安慰他。】 說書人２：
兩個小孩想著，也許他們可以在另外一個世界中再見到 他們的媽媽。
說書人１：誰知道在另一個世界裡有什麼
？
說書人２：也許是有龍王看守著入口？【拿出龍王面具】 說書人１：也許他有個狐狸鄰居？【拿出狐狸面具】
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姐：走！我們去找媽媽！ 說書人２：噓！你看，
兩個小孩已經到了神木底下。
【姐弟來到神木下。站在神木旁，
兩個小孩看來好渺小。姐弟倆
在樹洞口往下看。】 弟：
∼∼∼∼∼【回音：
姐弟：【往下看】
∼∼∼∼∼】
！有人在
【姐丟一顆石頭進去，聽見石頭
？ 滾動的聲音延續了好久，像一
首歌一樣。】 一睡一醒之間三部曲
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姐：
一定是另一個世界的入口！
弟：姐，我害怕！ 姐：勇敢一點！！ 【他們爬進樹洞。】 龍王：糟 狐狸：
！他們要下來了！ 呀，
裡可不是他們該來的地方。
龍王：怎麼辦？ 狐狸：我有個辦法！【狐狸與龍王交頭接耳】得讓他們喝下那個神奇 的水！你還要讓他們很害怕才行。 龍王：【懷疑】
樣行得通
？【吼，露出兇惡表情】
狐狸：【搖頭】再兇一點。 龍王：
樣
？【更兇惡的聲音跟表情】
狐狸：【搖頭】再兇一點。
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龍王：
樣
狐狸：
還差不多。
？【更兇惡的聲音跟表情】
【弟弟與姐姐一起爬進樹洞裡】
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龍王：狐狸呀，如果他們問我，他們的媽媽在
裡，我要怎麼說？
狐狸：就說當人死了，就是消失了。每個生命都會消失。 龍王：狐狸呀，如果他們問我，消失……是什麼意思，我要怎麼說？ 狐狸：就是……不見了。看不到，聽不到，摸不到，找不到。 龍王：可是…… 狐狸：噓！他們到了。 【弟弟與姐姐，曲曲折折，最後掉在龍王身上。】
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Storyteller1: Once upon a time, there was a thousand-year-old sacred tree in a very faraway place. Legend says that there was an entrance to another world there. Storyteller2: However, it’s only a legend… Storyteller1: Nevertheless, there are two kids who believe in the legend. At a funeral. The adults are busy. The kids are looking for a chance to ask questions.
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Younger brother: (Grips adults’ clothes) When can I see Mommy again? Adult 1 pats the little puppet’s head and then leaves with a sigh. Younger brother: Where did she go? Adult 1: Where did she go?... She… (Evasively) she went to another world. The elder sister snuggles next to her brother to comfort him. Storyteller2: These two kids are thinking that maybe they can see
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their mother once again in another world. Storyteller1: Who knows what is in another world? Storyteller2: Maybe the Dragon King is the guardian of the entrance? (Takes out the mask of the Dragon King) Storyteller1: Maybe he has a fox as a neighbor? (Takes out the mask of Fox)
Elder sister: Let’s go! Let’s find Mommy. Storyteller2: Hush! Look! The two kids have already arrived at the
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sacred tree. The elder sister and her brother are under the sacred tree. They are much smaller than usual while standing beside the sacred tree. They lie near the tree hole and look down. Younger brother: Hello~~~~(Echo: Hello~~~~) Two kids: (look down) Hello! Is anyone there? The elder sister throws a stone into the hole. The sound of the rolling stone lasts for a long time, just like a song. Elder sister: This must be the entrance to another world! Younger brother: Sis, I’m scared! Elder sister: Be brave! They go into the tree hole. Dragon King: Oh, no! They are coming! Fox: My dear! This is not the place for them!
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Dragon King: What can we do? Fox: I have an idea! (They whisper to each other) We have to force them to drink the magic water! And you have to make them feel afraid. Dragon King: (Doubtfully) Does this work? (Roars) The Dragon King makes a ferocious facial expression. Fox: (Shakes his head) Be more ferocious. Dragon King: How about this? (More ferocious voice and facial expression) Fox: (Shakes his head) More ferocious. Dragon King: How about this? (More ferocious voice and facial expression) Fox: That’s more like it.
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The kids climb into the tree hole.
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Dragon King: Hey, Fox. If they ask me where their mother is, what can I say? Fox: You can say: “When someone dies, the person vanishes. Every life will vanish one day.” Dragon King: Hey, Fox. If they ask me…what the meaning of “vanish” is, what can I say? Fox: Well…it means to disappearance. You can’t see it. You can’t hear it, can’t touch it, nor find it. Dragon King: But…… Fox: Hush! They’re coming. The kids after a winding path, they fall on the Dragon King's body.
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版權 《表演臺灣彙編：劇本，設計，技術， 表演書寫館
∼》
【一睡一醒之間】三部曲
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／飛人集社劇團 戲劇製作／飛人集社劇團 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 英文翻譯／陳佾均、郭于禎、劉微明 英文校對／蘇玨于、
淑芸、郭于禎
法律顧問／李友琦 製作公司／潑墨數位出版行銷有限公司 一睡一醒之間三部曲
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發行日期／2014年09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/9789860435467(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/Flying Group Theatre Producer/Flying Group Theatre Editor in Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan Assistant Editor/Chia-ling Tsai 一睡一醒之間三部曲
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Translator/Yi-chun Chen, Vanessa Kuo, Wei-ming Liu Proofreader/Chueh-yu Su, Spica Wobbe, Vanessa Kuo Legal Consultant/Yo-chi Li Digital Production/Puomo Digital Publishing & Marketing, LLC. Publication Date/September 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, 2014. All rights reserved. Please contact us for any mistakes or missing content in the book. e-ISBN/9789860435467(ePub)
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