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【馬華文學劇場│創作者與創作介紹:黃思農】

黃思農《山瘟》


Q1:這次創作的理念是?
A1:

這個演出處理的不是歷史,而是記憶,死者的記憶以一種碎裂的形式存於我們語言之中並不斷的自我變造。所以,這個創作對於實存或者虛構的馬共與台共,從來就不可能以紀念碑式的悼亡作為路徑,而是不斷對同一個事件現場的解碼、轉譯和再挖掘,唯有在這個過程裡,我們對歷史的叩問以「當下」(the presence of the Jetztzeit)為基點。

Q2:在創作過程中,最想分享的一件事情?
A2:馬共與台共是由小說的閱讀延伸出的關注,在我焦慮於作品涉及的議題如此巨大及牽涉大量的資料搜集時,友人杰廷剛好從德國回台,聽我談了一下午自己的焦慮,他跟我講了一段卡夫卡的短篇,故事關於臨終前的國王與傳令大臣,多少讓我確立了這個作品的方向,以及斷簡殘篇式的組合及思想斷片的引用,作為路徑的可行性。就像這則故事所體現的,「訊息永遠處在傳遞(in sent)的過程之中。」

我想與你們分享

“The Emperor—so they say—has sent a message, directly from his death bed, to you alone, his pathetic subject, a tiny shadow which has taken refuge at the furthest distance from the imperial sun. He ordered the herald to kneel down beside his bed and whispered the message in his ear. He thought it was so important that he had the herald speak it back to him. He confirmed the accuracy of verbal message by nodding his head. And in front of the entire crowd of those witnessing his death—all the obstructing walls have been broken down, and all the great ones of his empire are standing in a circle on the broad and high soaring flights of stairs—in front of all of them he dispatched his herald. The messenger started off at once, a powerful, tireless man. Sticking one arm out and then another, he makes his way through the crowd. If he runs into resistance, he points to his breast where there is a sign of the sun. So he moves forwards easily, unlike anyone else. But the crowd is so huge; its dwelling places are infinite. If there were an open field, how he would fly along, and soon you would hear the marvellous pounding of his fist on your door. But instead of that, how futile are all his efforts. He is still forcing his way through the private rooms of the innermost palace. Never will he win his way through. And if he did manage that, nothing would have been achieved. He would have to fight his way down the steps, and, if he managed to do that, nothing would have been achieved. He would have to stride through the courtyards, and after the courtyards through the second palace encircling the first, and, then again, through stairs and courtyards, and then, once again, a palace, and so on for thousands of years. And if he finally burst through the outermost door—but that can never, never happen—the royal capital city, the centre of the world, is still there in front of him, piled high and full of sediment. No one pushes his way through here, certainly not someone with a message from a dead man. But you sit at your window and dream of that message when evening comes.”

translation by Ian Johnston, An Imperial Message by Frank Kafka 

Q3:從文本中,又有獲得什麼樣的感受呢?
A3:
如何閱讀?如何詮釋?我想到早期神秘主義者的符號指向:眼前的文本交織成網,真理永遠匿藏於其後。於是,對真實的欲求,與對言說和文字的不信任共生。
作為新生代的馬華文學作家,黎紫書許多短篇都涉及對同一虛構事件或歷史現場的回憶與挖掘,《山瘟》的馬共書寫,很自然而然讓我對應了近年剛出土的台共文獻,巧合的是,因為這段時間我的另外一個演出,再拒劇團的《燃燒的頭髮》,亦涉及1930-1950年代,跨越了日據時代到戰後的超現實美學及左翼思潮。

翻閱著第一代抗爭者的檔案與資料,一封封歷經了幾十年也無法傳遞至家人手中的獄中絕命書,我思索著生者與死者記憶連結的方式,偶然間,漢娜鄂蘭描繪班雅明的文字給了我一些線索,她談到卡夫卡這一代戰前猶太知識份子對於「繼承」猶太傳統的抵拒,因為傳統就是一種權威的歷史性呈現,在他們的時代,傳統的斷裂與權威的淪喪是無可補救的,而我們必須找到另一種面向歷史的態度,這個態度以對過去斷簡殘篇的「引用」為路徑,將原來的文字從既有的系統性的權威論述、連貫的語境中割裂和破壞出來,將它與現當代文本並置,彼此補充、辯證和對話。由此來看,黎紫書在《山瘟》裡對農民曆的引用,對我來說有同樣的意義。

不論我自己的創作脈絡,或者近年台灣的世代論述書寫所反映,我認為「拒絕繼承」,亦對應了現在我們這一代的處境。

Q4:以一句話總結此次創作吧:
A4:「起源即目標」

          Karl Kraus, Worte in Versen, Vol.1

Q5:想請問過去演出經歷有?
A5:

劇場與樂雙棲作者年在各大小劇團藝術節擔過劇場編導策展人作曲現場樂手和音效設計亦曾任台北門藝駐節藝評報與部的特撰稿20歲時友人共同立再拒劇團,,並擔任再拒劇團團長至今07農發微型劇場宣言第一再拒劇團公寓並編導搖滾樂劇沉默的左手以高捷泰穆斯林移民的抗暴事件切入反思新移民在台其編導及音樂演出,以環境劇場音樂劇場與詩劇為主,涵蓋非敘事與疏離手法的運用,及結合物件、聲音藝術和多媒體藝術之跨域創作。演出足跡遍及於台北、東京、澳門、柏林、埃爾福特、伊斯米爾……等多個城市。

0910在台北門兩地演出字寓言現場樂與錄置的反托邦獲該年度台新藝術獎年度表演藝術十大2010年於台北首演的國夢》,全球文化均化影代的勞動青年該戲2012年在 180洲作品中選東藝術節(F/T)“公募同年又以的意劇場為在再拒劇團跨界接下是一些些消亡(包括我 自己的)此展演於20139月入第夫Cardiff舉辦的世界劇場設計(World Stage Design)全球藝術計畫FOUR at WSD為該計畫唯一的藝術團隊。2014年則參與再拒劇團諸神黃昏》聲音劇場的集體創作。

合作與劇團亦相當廣舞踏劇場術館到偶皆可看現場演出的身影20082013年分在台灣與門兩劇場聲創專輯他善於用音樂營造空間與畫現場常使用Loop不同的弦層與節大的音場與並將種聲音如抗爭現場田野編排入劇場及舞踏音樂中在各種聲響與音樂即興的張力裏與現場表演者對話

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