目錄／
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19.
封面／Book Cover 目錄／Content 總編輯的話／From the Editor in Chief 導言／Introduction 《降靈會》創作者自序 《降靈會》導演 釋概念 《降靈會》劇本 《最美的時刻》創作者自序 《最美的時刻》導演 釋概念 《最美的時刻》劇本 附錄1 影音精選／Video Clips 附錄2 劇照精選／Photos 附錄3 劇作家周伶芝、魏雋展簡介 附錄4 無獨有偶工作室劇團簡介／The Puppet & Its Double Theatre 附錄5 首演資 附錄6 幕後製作相關 附錄7 延伸閱讀與迴響評論 台灣現代戲劇 表演影音資料庫簡介／An Introduction to Electronic Theater Intermix in Taiwan 版權／Copyright
無獨有偶經典偶劇選：降靈會、最美的時刻
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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 無獨有偶經典偶劇選：降靈會、最美的時刻
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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》
無獨有偶經典偶劇選：降靈會、最美的時刻
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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
無獨有偶經典偶劇選：降靈會、最美的時刻
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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
搬上舞臺，必然已經取得一定的社會資源，
無獨有偶經典偶劇選：降靈會、最美的時刻
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 無獨有偶經典偶劇選：降靈會、最美的時刻
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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
無獨有偶經典偶劇選：降靈會、最美的時刻
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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
無獨有偶經典偶劇選：降靈會、最美的時刻
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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 無獨有偶經典偶劇選：降靈會、最美的時刻
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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 無獨有偶經典偶劇選：降靈會、最美的時刻
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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 無獨有偶經典偶劇選：降靈會、最美的時刻
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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
無獨有偶經典偶劇選：降靈會、最美的時刻
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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 無獨有偶經典偶劇選：降靈會、最美的時刻
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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 無獨有偶經典偶劇選：降靈會、最美的時刻
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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
無獨有偶經典偶劇選：降靈會、最美的時刻
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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 無獨有偶經典偶劇選：降靈會、最美的時刻
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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
無獨有偶經典偶劇選：降靈會、最美的時刻
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導言 給未來的偶戲作者 文／郭亮廷（文字工作者）
偶戲和前衛劇場運動，曾經共同寫下一頁輝煌的歷史，讀史的我們卻 常常一恍神就略過了，所以法國劇場學者迪迪耶．普拉
（Didier
Plassard）寫了一本厚厚四百多頁的《演員作為戲偶》（L’acteur
en
effigie）。我們都曉得，二十世紀初最大的衝擊是工業革命帶來的機械 生活，而藝術家最強的反擊是集中表現人類的精神生活，於是問題來 了：戲劇是人演的，演員是肉做的，那麼，血肉之軀如何表演機械、 表現精神？此事非同小可，要是戲劇演不來 時代剛來臨就玩完了。在
些，劇場藝術等於在新
危急關頭，前衛劇作家想到了偶戲。
偶戲拯救了劇場史 一方面，偶是物件，演員模仿偶的肢體動作，可以表達人類在現代社 會裡被物化；另一方面，偶是神祕的塑像，人偶同臺可以突顯出人類 總是嚮往神聖的精神昇華。
可是大逆轉
！偶戲本來是仿造人形，
前衛運動成了人模仿偶，本來是劇場的旁支，現在變成劇場的拯救， 走投無路的劇場史從偶戲的 無獨有偶經典偶劇選：降靈會、最美的時刻
用開展出枝繁葉茂的前衛運動！普拉 潑墨書房
寫道： 「從未來主義到達達，從表現主義到構成主義，從超現實主義 到包浩斯，人偶的形象在 些運動之間的裂痕、以及交 影響 的網絡裡，扮演了多重而矛盾的角色：它是冒犯觀 的可笑物 件，是縈繞不去的怪誕符號，是未來人類的模型，是神祕力量 的縮影，是自我潛意識的物質化──如此繁雜的功能，時而相 輔相成，時而水火不容……。」（ ） Didier Plassard. 1992. L’Acteur en effigie. Lausanne : L’âge d’homme. p. 15.
例子繁多不及備載，就說大家比較熟悉的，梅特林克（Maurice Maeterlinck）的《群盲》（Les aveugles）。 在森林裡，
齣戲描寫一群瞎子迷失
半天才發現帶路的神父已經死在他們中間。顯然，已死
的神父象徵上帝之死，迷路的瞎子象徵上帝死後不知所措的人群， 都不難理解，難的是怎麼演？劇作家說，死去的神父要裝扮得和蠟像 一般，因為每座蠟像都滲透著最詭異的死亡氣息，其餘的盲人一律模 仿傀儡演出， 的造物主。
樣他們無助的吶喊，才像是被遺棄的造物在哀求他們 裡，無論是死去的神父，還是盲從的人，無論是蠟像還
是傀儡，梅特林克所書寫的，是一種去除身體的人的形象，無論是去 身體化為神秘的亡靈，還是去身體化為無個性的物件。
從「失語」到「失身」 時空拉回臺灣劇場史，不免令人納悶，布袋戲從
清一路延燒，現代
戲劇即使寫到了劇本荒的地步，也不見劇作家向偶戲借鏡過。的確， 無獨有偶經典偶劇選：降靈會、最美的時刻
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臺灣民間宗教不信上帝，自然沒有上帝已死的失落，但是邁入現代社 會，身體被物化的情況卻是共通的。不是說我們的劇場沒有回應現 實，有，從姚一葦把語言重複到失去語意，到紀蔚然把廢話寫成對 話，臺灣現代戲劇有一條處理「失語」的線索，可是關於去身體化的 「失身」就說得太少，少到我們還來不及思考失去身體的人如何發 言，就直接跳到小劇場運動的反文本。 從
個角度來看，無獨有偶劇團的
也剛好都
兩齣戲，寫的都是作家的自殺，
觸到人去除掉身體如何說話的問題。魏雋展的《最美的時
刻》以一位幫大人物寫自傳的代筆作家為主述者，從頭到尾超級變變 變，變成過氣的女明星、變成靈修大師、變成土豪，變到作家像是一 具塑膠容器，各式各樣的人格任君填充，呼應了前衛運動試圖塑造的 異化的身體；周伶芝的《降靈會》是一則鬼故事，女作家上吊前打點 好自己的降靈會，邀請朋友三年後來聽
非死不可說出的話，等於延
續了梅特林克的工作，捕捉那擺脫肉身的、亡靈的聲音。
未完成的舞臺書寫 當然，缺點很好挑，例如《降靈會》幽靈回訪的劇情類似能劇，劇中 的愛恨情仇卻沒有糾結到足以成立劇終的超脫；再如《最美的時刻》 很像表現主義追尋自我的旅站劇（Stationendrama），拜金的是我， 拜佛拜物的都是我，但是
無獨有偶經典偶劇選：降靈會、最美的時刻
個我拜了一圈，開頭和結尾卻一樣困惑，
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旅行得並不太遠。
些缺點，很大一部分取決於創作過程，兩個文本
都是所謂的「表演文本」（performance
text），或是「舞臺書寫」
（écriture de plateau），也就是劇本並不是先於排練，而是在排練的 過程中完成。本來，人的表演已經有
複雜，再加上偶的表演，至少
包括人演人、人演偶、偶演人、偶演偶四種排列組合，所以格外需要 種開放的寫作方式，調度所有的變項，但也特別容易受制於當時的 製作條件，使得劇本成為諸多因素折衷下的產物。 然而，正因如此，偶戲的劇本書寫從未完成。它向每一次排練的過程 開放，我們都是它未來的作者。
無獨有偶經典偶劇選：降靈會、最美的時刻
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Puppetry and avant-garde theatre once co-wrote a glorious chapter in history; however, it is a chapter often overlooked by later generations. To bring the chapter back into the spotlight, French theatre scholar Didier Plassard wrote a four-hundred-page epic, L’acteur en effigy. We all know that one of the most significant impacts on society at the turn of the 20th century was the mechanized lifestyle brought about by the industrial revolution, and that the artist’s most powerful counterattack against this onslaught was the emphasis on human spirituality. Therein lies the problem: theatre is carried out by actors, and actors are made of flesh. How then could flesh-and-blood bodies personify machines and represent spirits? This is no small matter, for if the theatre could not find a way to do the above, the art form would have become obsolete at the onset of a new age. At this point of crisis, the avant-garde theatre artist looked to puppetry. 無獨有偶經典偶劇選：降靈會、最美的時刻
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On the one hand, puppets are objects; the actor is able to articulate the objectification of humanity in modern society by imitating the physical qualities of puppets. On the other, puppets are mystical idols, and to put live actors and puppets on the same stage is to highlight the universal human desire for a divine, spiritual transcendence. This was an enormous reversal! While puppetry started out as imitations of the human form, the avant-garde movement now called for human actors to imitate puppets. While puppetry had been regarded as a subset of theatre, it was now promoted to “the savior of theatre.” Backed into a corner, the theatre borrowed from puppetry and grew into a blooming, fruitful avantgarde movement. As Plassard stated, From futurism to Dadaism, from expressionism to structuralism, from surrealism to Bauhaus, the image of the puppet plays a multilayered, contradictory role in the crisscrossing connections between and cracks separating these movements. It is a laughable object used to offend the audience, a lingering symbol of the bizarre, a model for the future human being, a microcosm of the unknown, and the materialization of the unconscious self. These complex functions at times work well with one another, and at other times completely contradict with each other. （ ） Didier Plassard. 1992. L’Acteur en effigie. Lausanne : L’âge d’homme. p. 15.
無獨有偶經典偶劇選：降靈會、最美的時刻
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There are too many examples to enumerate, but let us look at something well known: Maurice Maeterlinck’s The Blind. In this play, a group of blind men were lost in the woods. As time passed, they discovered that the priest who was to lead the way had died. Obviously, the dead priest is a stand-in for God, and the lost blind signify the disoriented mass after the death of God. So far, things are fairly straightforward, but how do we stage this play? According to the playwright, the dead priest should look like a wax figure, because wax figures give off an uncanny sense of death. The blind, on the other hand, should be puppet-like, so that their desperate screams would truly resemble the pleas uttered by God’s abandoned creations to their Creator. In this case, whether it be the dead priest or the blind followers, whether it be a wax figure or a puppet, Maeterlinck is portraying the image of a human being without a body: either casting off the corporeal form to become a mystical ghost, or trading in the human body for a characterless object.
Strangely, in terms of Taiwanese theatre, while traditional puppetry has been popular since the late Q’ing Dynasty, modern playwrights have never taken a page from this legacy, not even when modern 無獨有偶經典偶劇選：降靈會、最美的時刻
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theatre is going through the crisis of original text shortage. The western God was not part of the folk religion of Taiwanese society, and therefore no sense of loss was provoked by the death of God. Still, the objectification of the human body is a common phenomenon of the modern age. It is not to say that Taiwanese theatre does not reflect reality: we have Yao Yiwei, who depletes language of meaning with the use of repetition, and Ji Weiran, who compiles dialogue out of nonsense. There is a strand of Taiwanese contemporary theatre addressing the loss of language, but not enough was said about the loss of the body. The theatre did not have enough time to contemplate on how a person would speak without the body. It has skipped this stage and moved to the Taiwanese Experimental Theatre Movement, to anti-text. Let us approach the two plays of The Puppet and Its Double Theater from this angle, since they are both about the suicide of the playwright, and both touch upon the question of how one speaks without a body. Derrick Wei’s Der Schönste Moment features a narrator who is a ghostwriter of celebrity autobiographies. From beginning to end, the ghostwriter embodies character after character, from an over-the-hill diva, a spiritual guru to a local mafia boss. He goes through so many characters that it seems that he has become a 無獨有偶經典偶劇選：降靈會、最美的時刻
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plastic receptacle, awaiting the next set of personalities to fill him out. This corresponds to the alienated body which the avant-garde movement aimed to create. Ling-chih Chow’s La Réminiscence d’un Fantôme is a ghost story in which a playwright arranges her own séance before hanging herself, inviting friends to come back in 3 years to listen to the things she would only say after death. This play can be seen as a continuation of Maeterlinck’s goal of capturing the voice of the disembodied and the dead.
Of course, there are flaws to the plays. For example, the plot of the ghostly re-visitation in Fantôme is similar to that of the traditional Noh play, but the emotional complications in the play are not entangled and profound enough to warrant the transcendence at the play’s resolution. Another example is in Moment: its structure resembles the Expressionistic trope of self-discovery, Stationdrama, but after all the solace-seeking (in materialism, religion and materialism again), the protagonist remains as confused and aimless in the end as he is at the beginning; in other words, his journey of self-discovery did not go far. A major reason for these flaws is the creative process. Both plays are what we call “performance text” or 無獨有偶經典偶劇選：降靈會、最美的時刻
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écriture de plateau, and were created during instead of prior to the rehearsal. A performance by human actors is complex in its own right; with puppets, the performance would consist of at least four combinations of acting: humans acting as humans, humans acting as puppets, puppets acting as humans and puppets acting as puppets. This is the reason for the open form of creating a text in rehearsal: to better orchestrate all the variables. At the same time, such a creative process is more likely to be limited by the circumstances of its inaugural production, and result in a product of compromise. However, it is exactly for the above reasons that the written text of puppet theatre is never finished. Instead, it is open for each new rehearsal process, and all of us can be the playwrights of the future puppet theatre.
無獨有偶經典偶劇選：降靈會、最美的時刻
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《降靈會》劇本 編劇／周伶芝 劇情簡介 故事敘述一名管家、一位女明星，以及一位男性出版商，在已故女作 家「安其」的降靈會上聚首。管家
默而強
地，照看著女作家臨終
歲月鮮為人知的脆弱與錯亂。女明星是安其中學時代的閨中密友，見 證了青春少女的暴烈，投射在對於「殘酷」和「死亡」的迷戀。男性 出版商則是安其工作上的親密夥伴，過去情感的挫敗，讓他針對作品 建構出的「真實」，屢屢提出質疑。 錄音：在世的女作家形象 朗讀：寫作和回憶中的女作家 投影：幽冥之境的女作家
【男人已在場上。女人上場，與男人保持一段距離。】
無獨有偶經典偶劇選：降靈會、最美的時刻
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女人：好久不見。你總是第一個。 男人：習慣了。 女人：習慣早到。 男人： 【
也習慣了，習慣
到。
默】
男人：就我們兩個？ 女人：我想不出來
還會對誰開
無獨有偶經典偶劇選：降靈會、最美的時刻
種玩笑。
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男人：對玩笑守信用？ 女人：【停頓】不過，安其可不是什麼守信用的人。 男人：倒是我們都
守信用的。
女人：所以我還是很天真。 男人：不是習慣被 女人：
次一
？
就是三年。誰知道
？三年過得好快。
男人：三年…… 【女人隨意拿起一本書翻看】 女人：你聽聽
個：「在魔鬼的指紋間迷路，話語在舌尖燃燒成完美
的黑暗。我以脫衣舞孃般的好身段，遙望小鎮的幻象，炊煙般 曲折隱入冰涼如雪的湖水。一整夜的高燒，我 如星團爆炸，擠身在
熱窒息的孤獨
破舊的高山旅館小房間。」【停頓】
什麼時候寫的？我從來不看的。你都看的吧，
無獨有偶經典偶劇選：降靈會、最美的時刻
的書。
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男人：沒什麼好看。
早就過時了。
女人：虧你說得出。 男人：
只知道讀者習慣要的。
女人：
可幫你賺了不少錢。
男人：那不代表我要愛 女人：
的書也是
的書。
的一部分啊。「我的身體如在剃刀上翻滾，【O.S.
漸入】我的靈魂沸騰攀昇，我發著高山症，無人照料，心臟像 狂擊的鼓聲。一夜折騰，清晨太陽昇起的光，引領我的靈魂飛 無獨有偶經典偶劇選：降靈會、最美的時刻
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出窗外。是了，前世，我必定是巫師的女兒。我的靈魂【O.S. 漸出】騎在老鷹的翅膀上，鳥瞰起伏的安地斯山脈，描繪我沙 盤上的命運，充滿 男人：
了，不要唸了。 朗誦。
女人：幹嘛
種追思會
愁的未來。」 不是不看
，何必在
種時候拿起
的書
不拿手。
麼衝。
男人：我現在不想聽。 女人：
讓你覺得痛苦？
男人：
什麼時候去了安地斯山脈！
唸
有意義
！什麼狗屁真實
人生。 女人：出版商會在意真假？當小說看看就好了。 男人：我在意的是，
不
誠實。
女人：對誰？對讀者？還是對你？ 男人：我當然是說對
書裡的自己。
無獨有偶經典偶劇選：降靈會、最美的時刻
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《最美的時刻》劇本
原著／明夏．科內留斯（ 劇本改編／魏雋展
）
劇情簡介 《最美的時刻》描述一個代筆作家，總是編
其他人的人生，藉他人
之口發出自己聲音，別人的存在似乎正反映了他自己空洞的人生，只 有透過別人的身世，他才感覺到自己的存在。而本劇則透過獨角戲的 形式，以人、偶同臺，相互對照的手法，貼近地
釋了作品角色。演
員魏雋展一人飾演多角，以「演員」扮演替人執筆「代筆作家」，並 透過「偶」為媒介，展演「變形」成為「他人」的過程；而劇中多種 人／偶對位關係，透過「極其虛假」的戲偶，直指關於「真實人生」 的諷刺，更暴力，也更犀利。
【純白的舞臺被一個巨大的白色方框圍著。舞臺上一只純白色的馬 桶。舞臺中央有一個可以出現或消失的地洞，左下舞臺也有一個。但 一開始是全白的地板。燈亮，一個男人坐在馬桶上。】
廁所裡的對話 無獨有偶經典偶劇選：降靈會、最美的時刻
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男人：小時候我很喜歡一種味道， 的
螂的味道。我會看著黏鼠板上面
螂，他們晃動的觸鬚，好像在思考，我拿一把剪刀把他
們……喀
，那些被剪斷的觸鬚會冒出
種黃色透明的液體，
像是一個人的靈魂。我會用手輕輕的沾一點……我好喜歡
種
味道。長大之後我就改用皮鞋把他們
樣比較快，
整
天我都可以聞到那種黃色的，靈魂的味道。現在那個我想
爛
的顧客在外面等我， 鐘，而我，在
等著我幫
爛。
寫自傳，
已經等了四十分
的廁所裡……思考。
【一個小男人的偶從水箱冒出來，男人看見小男人，男人操縱小男 人，兩人輪流說話。】
無獨有偶經典偶劇選：降靈會、最美的時刻
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男人：對每一個顧客我都如此，我們親切地打了招呼，親親左臉、親 親右臉，「真的很抱歉，我今天不太舒服，可以借一下洗手間 ？」
一招適用於所有的名人，他們會立刻帶我去他們最私
密的地方──廁所。通常，我會在那裡待上十五分鐘。因為十 五分鐘對任何一個人來說都是一種挑釁。不管你是知名電視製 作人，當紅歌手，或是政治人物，十五分鐘
對都是一種屈
辱。但是對我而言，十五分鐘是我的教堂，是我的祈禱，是我 小小的永恆…… 【敲門聲，小男人回頭，男人跟著回頭，兩人對看後坐在馬桶上，對 門外的人說話。】
無獨有偶經典偶劇選：降靈會、最美的時刻
潑墨書房
無獨有偶經典偶劇選：降靈會、最美的時刻
潑墨書房
男人：抱歉我還沒好，大概還需要…… 小男人：半個小時…… 男人：五分鐘……茶就可以了 小男人：有咖 男人：有咖
？ ？咖
小男人：有林鳳營鮮
和一點點的
精
？
男人：…… 小男人：沒有就去全聯買阿！！！【男人用手捂住小男人】 男人：我剛是開玩笑的，咖
跟
精就可以了，謝謝。今天我已經在
廁所待了四十分鐘，我想我完了。我不知道為什麼但是我就是 走不出去……【小男人
脫男人的手，兩人對看】我發現最近
我常常和自己說話，我覺得
樣不太對勁。
【敲門聲】 老女星：你還好
？
無獨有偶經典偶劇選：降靈會、最美的時刻
潑墨書房
男人：我…… 小男人：我還好，馬上出去！ 【男人將小男人抓起來丟進馬桶水槽，沖水，老女星隨著熱門音樂從 左下地洞昇起，隨音樂
動身體。】
老女星：小夥子，要不要一起來跳舞阿？ 男人：我們直接開始好
？。
老女星：什麼？ 男人：我們直接開始好 老女星：
？
，好呀！
【男人坐地洞邊，接過老女明星，老女人的
交疊放在男人的
上。】
無獨有偶經典偶劇選：降靈會、最美的時刻
潑墨書房
版權 《表演臺灣彙編：劇本，設計，技術， 戲劇劇本館
∼》
《無獨有偶經典偶劇選：降靈會、最美的時刻》
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／周伶芝、魏雋展 戲劇製作／無獨有偶工作室劇團 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 校對／陳怡君 法律顧問／李友琦 製作公司／潑墨數位出版公司 無獨有偶經典偶劇選：降靈會、最美的時刻
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發行日期／2014年06月 初版 指導單位／
本數位出版品之製作出版，接受文化部「公有文化創意素材加
應
用」計畫補助。 定價220元 版權所有，翻印必究。 本書若有任何缺誤，請與我們聯繫。 e-ISBN/9789860435023(ePub)
無獨有偶經典偶劇選：降靈會、最美的時刻
潑墨書房
Published by The Performance Center at National Central University Publisher in Chief/Dr. Jing-yang Jou Address/No. 300, Jhongda Rd., Jhongli City, Taoyuan County 32001, Taiwan (R.O.C.) Phone/+886-3-426-4805 Fax/+886-3-426-4805 Email/theatre@ncu.edu.tw Author/Ling-chih Chow, Derrick Wei Producer/The
Puppet
&
Its
Double
Theatre
Editor
in
Chief/Katherine Hui-ling Chou Executive Editor/Yi-hsiu Lee Executive Editor/Jae Zan 無獨有偶經典偶劇選：降靈會、最美的時刻
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Assistant Editor/Chia-ling Tsai Translator/Wei-ming Liu Proofreader/Yi-chung Chen Legal Consultant/Yo-chi Li Digital Production/Puomo Digital Publishing & Marketing, LLC. Publication Date/June 2014, first edition The production and publication of this digital publication is sponsored by the Ministry of Culture’s Public Creative and Cultural Material Value-added Application project. Suggested Retail Price/NT$220 © Copyright Performance Center at National Central University, 2013. All rights reserved. Please contact us for any mistakes or missing content in the book. e-ISBN/9789860435023(ePub)
無獨有偶經典偶劇選：降靈會、最美的時刻
潑墨書房