《民眾在何處？亞際社會的民眾劇場 》
【Chinese and English versions are available simultaneously】Where are the people? People’s theater in Inter-Asian Societies

民眾在何處？

民眾的身體如何以劇場的美學形式，為自己發聲？

當時，觀眾真的站起來了。

那一夜，多位劇場實踐者將以身體行動作為對話的方法，呈現深具特色的表演形態，表達他們關注的議題。進入論述的脈絡，走上抵抗的現場，承接起表演的工作——他們的表演，是一系列對話的序言，也是三十年來，民眾劇場生命的證言。

「民眾劇場」，屬於人民、由人民創作、為人民發聲的劇場，在歷史上以不同的形式出現。

民眾劇場，在雅加達、馬尼拉、曼谷、新加坡、吉隆坡、香港、東京、釜山、馬普托、北京、上海、花蓮、台中、台北等亞際社會跨地串聯，各地的劇場工作者與研究者透過各自的書寫和影像，讓我們看見民眾以承載歷史衝突與經驗感受的身體美學，尋找表達的形式與管道，續行思考與創作的工作。

「民眾劇場」是一場革命的預演

本書回顧與反思近半世紀以來直至今日的亞際社會民眾劇場，勾勒出劇場地圖，這麼做不是為了建立博物館或是紀念碑，而是要讓所有讀者，包括未來的讀者，理解從威權政體到改革開放的新自由主義社會裡，不同社會角落及歷史脈絡的劇場工作者，如何面對各自存在的難題，打開一個又一個的劇場空間！

▍專文推薦

「這是一本以身體動能驅動我們批判思考為前提的冊集，它的重量體現在我們如何進行『觀看即參與、觀眾即演員』的祈使問句中，以及不斷出現的抵抗、政治、受壓迫者與對話字串，所隱約發出的呢喃聲響。要言之，這是一本拒絕沉默以對的冊集，在案頭嗡嗡作響。」——林欣怡（國立陽明交通大學應用藝術研究所副教授）

▍本書收錄的民眾劇場實踐者（依文章序）

菲律賓教育劇場協會（馬尼拉）、維吉．圖庫爾（Wiji Thukul）（梭羅）、墓地劇團（雅加達）、油甘子劇團（清佬／曼谷）、亞洲民眾戲劇節協會（香港）、野戰之月（東京）、王墨林（台灣）、差事劇團（台灣）、冉而山劇場（花蓮）、南洋姊妹劇團（台灣）、石岡媽媽劇團（台中石岡）、台灣應用劇場發展中心（台灣）、戲劇遊樂場SHIIM（釜山）、草台班（上海）、柳春春劇社（台北）、家劇場（莫三比克）

▍推薦人

姚立群／牯嶺街小劇場、身體氣象館館長

陳界仁／藝術家

郭力昕／國立政治大學廣播電視學系教授

陳信行／世新大學社會發展研究所教授

周慧玲／國立中央大學英美語文學系教

許仁豪／國立中山大學戲劇藝術學系副教授

石婉舜／國立清華大學台灣文學所副教授

賴淑雅／台灣應用劇場發展中心負責人

▍本書特色

跨出台灣、東亞的地域限制，結合亞際社會與第三世界社會的脈絡，領略與民俗文化和社群傳統交織而生的劇場工作方法，針對民眾劇場實踐推進工作。
聚焦於描繪特定歷史時期的網絡關係，探討這些異質地區的劇團的合作和交往是如何發生？這些互動如何影響了不同政治體轉型中民眾劇場組織的特質和形式？
在回望劇團們的延續與發展之外，也包含新劇團與老劇團之間的突變或隔閡。

目錄

開幕之夜

民眾劇場發展地圖

序言｜民眾在何處？——民眾的身體如何以劇場的美學形式，為自己發聲？ 劉紀蕙

推薦序｜入眾叩問：一種臨場的述行檔案 林欣怡

前言｜亞際脈絡的民眾劇場流動史 李齊、雷智宇（Zikri Rahman）

Part 1 反抗的先聲：亞洲民眾劇場的興起

PETA之金：遊戲國家，改變亞洲 Glecy Cruz Atienza／著　李丁／譯

印尼「新秩序」下的跨國網絡、民眾劇場與激進反對運動 Muhammad Febriansyah／著　黃雋浩／譯

騷動歷史：「墓地劇團」自「新秩序」至改革後的展演表現 安筱霏（Ratu Selvi Agnesia）、丁東（Dindon W. S.）／著　吳庭寬／譯

轉化性的對話劇場：「油甘子劇團」與泰國鎮壓狀態的協商 Richard Barber／著　胡明／譯

地下之來世：櫻井大造的「帳篷劇」理論 Robin Weichert／著　劉岩／譯

評論｜言說之外 區秀詒

Part 2 身體的解放：台灣民眾劇場的起源與流變

留在歷史腳步中的台灣民眾劇場 韓嘉玲

受壓迫者的在場 王墨林

劇場能改造世界嗎？——亞際民眾戲劇的反思 鍾喬

劇場＆祭場：「冉而山劇場」的緣起 阿道．巴辣夫．冉而山

重返受壓迫者劇場：南洋姊妹劇團的培力、組織、動員 夏曉鵑

迴盪在換幕到真實的裂縫中：石岡媽媽的劇場「相遇－越界」，一條通往解放的航行 李秀珣

評論｜小劇場與民眾性 吳思鋒

Part 3 開枝散葉：當代各地民眾劇場的實踐

「戲劇遊樂場SHIIM」的創立背景與期間活動 白大鉉、洪承伊／著　延光錫／譯

「草台班」在富士康北門：從《世界工廠》到工人劇場的五年戲劇實踐 趙川

在身體、社會與劇場的邊界 王楚禹

「玉泉特訓」：一種「柳春春」觀點的實踐 劉馨鴻

自問自答：「家劇場」與莫三比克的劇場 Assane Alberto Cassimo／著　葉寶儀／譯

評論｜民眾劇場：朝向劇場體制的總體戰 郭亮廷

附錄

編者／作者／譯者簡介

民眾劇場實踐者簡介

譯詞對照表

▍主編

李齊

國立陽明交通大學社會與文化研究所博士生。國立交通大學（今國立陽明交通大學）文化研究國際中心「民眾在何處？——亞際社會民眾劇場工作坊」（2018年12月）統籌。因為好奇而來到台灣，亦經歷意外的旅程，持續進行的工作關注小劇場實踐者的生命歷程，移動與治理技術，以及近半世紀以來台海兩側的政治－經濟轉折，並為不同國家／地區的獨立媒體和研究機構撰寫文章和評論。

雷智宇（Zikri Rahman）

國立陽明交通大學社會與文化研究所碩士研究生，與多個即時平台合作，是一位作家、獨立研究者、譯者和播客製作人，並一直透過「街頭書坊」（Buku Jalanan）與不同的教育和文化行動團體進行各類社會－政治計畫的合作。他隸屬於「人民歷史中心」（Pusat Sejarah Rakyat），一個專注於馬來西亞和新加坡人民歷史的獨立檔案研究中心，也是「文學之城」（LiteraCity）計畫的發起人，這個計畫致力於建構吉隆坡市的文學和文化地圖。

劉紀蕙

美國伊利諾大學比較文學博士。國立陽明交通大學文化研究國際中心主任、亞際文化研究國際學位學程教授、台聯大文化研究國際中心暨亞際文化研究國際學程主任。專長：精神分析與批判理論、當代歐陸政治思想、東亞現代性、邊界政治、內部殖民與知識解殖、不平等公民、藝術介入。

▍攝影

許斌

紀實攝影者。三十多年來，他記錄解嚴後台灣各種現象，以及現代劇場的幕後、幕前。

▍開幕之夜策展人

姚立群

劇場製作人、導演。現任牯嶺街小劇場館長、身體氣象館負責人。

▍作者群（依文章篇序）

Glecy Cruz Atienza／菲律賓大學迪里曼分校人文學院專任教授

Muhammad Febriansyah／馬來西亞理科大學（檳城）社會科學系講師

安筱霏（Ratu Selvi Agnesia）／雅加達年輕女性劇場研究者

丁東（Dindon W. S.）／「墓地劇團」總監

Richard Barber／博士、劇場工作者、獨立學者

Robin Weichert／東京法政大學教師

區秀詒／「數位荒原」特約作者、吉隆坡「亞答屋84號圖書館」（Rumah Attap

Library and Collective）共同創辦人

韓嘉玲／歷史研究工作者、農村教育研究者與行動者

王墨林／劇場導演、行為藝術表演者、文化批評者

鍾喬／劇作家、導演、詩人

阿道．巴辣夫．冉而山／冉而山劇團團長、導演

夏曉鵑／世新大學社會發展所教授

李秀珣／民眾（社區）戲劇工作者、家庭照顧者

吳思鋒／劇評人、澳門《劇場．閱讀》季刊副主編

白大鉉／「SHIIM」的製作人、演員

洪承伊／韓國釜山劇團「劇場外」的表演者

趙川／作家、劇場編導、藝術評論及活動策畫人、民間戲劇團體「草台班」共同創建和主持者

王楚禹／當代藝術家、行為藝術家、策展人

劉馨鴻／2015年後玉泉特訓主要參與者

Assane Alberto Cassimo／「家劇場」（Teatro em Casa）協會的統籌和創始成員

郭亮廷／國立中正大學中文系兼任講師、藝評人及譯者

▍譯者簡介（依文章篇序）

李丁／國立陽明交通大學社會與文化研究所博士生

黃雋浩／國立陽明交通大學亞際文化研究碩士生

吳庭寬／文化工作者

胡明／國立陽明交通大學社會與文化研究所博士生

劉岩／文字與影像作者，研究者，翻譯者

白真松／國立清華大學亞際文化研究碩士生

延光錫／中國浙江海洋大學中文系教師

葉寶儀／國立陽明交通大學社會與文化研究所碩士生

 

 

Where Are the People?

How Could the People’s Bodies Voice Themselves in the Form of

Theatrical Aesthetics?

At That Time, the Audience Really Stood Up.

In this evening, theater practitioners initiated the conversation with physical action. They engage with contemporary issues through their unique performance styles. From a discursive context, they enter the scene of resistance and undertake the labor of performance. Their performance is not just the preface to a series of dialogues, but also a witness to thirty years of People’s Theater.

“People’s theater” belongs to the people.

It is the theater created by the people and speaks for the people as it has appeared in history in diverse forms.

People theater in Inter-Asian Societies began to grow in a cross-region, which included Jakarta, Manila, Bangkok, Kuala Lumpur, Hong Kong, Tokyo, Busan, Maputo, Beijing, Shanghai, Hualien, Taichung, and Taipei. Through the writings and images written down by theatrical artists from these spaces, we can figure out the body aesthetics that carry historical conflicts and the experience to find the form and channel of expression, and continue for work of thinking and creation.

“People Theater” is nothing but a rehearsal for a revolution.

This book has reviewed and reflected on the half-century development of people’s theater in inter-Asian societies, demonstrates how the theatrical practitioners and artists in different communities strived to open various spaces, dealt with the censorship from the authoritarian regime to the neoliberal societies, and experimented with diverse aesthetics and local objects to address political issues.

▍Preface

“It is a collection with the premise that can motivate our critical thinking with bodily energy. It reflects how we realize the statement—‘Viewing as participating; audience as actors.’It is also a book where some keywords constantly appear, like resistance, politics, the oppressed, and conversation. With its humming buzz and murmur against the present situation, it is a collection of words refusing to remain silent.”— Lin Hsin I（Associate Professor at the Institute of Applied Art, National Yang Ming Chiao Tung University）

▍People’s Theater Practitioners

Asian People’s Theatre Festival Society (Hong Kong)／Assignment Theatre (Taiwan)／Centre for Applied Theatre, Taiwan (Taipei)／Grass Stage (Shanghai)／Langasan Theatre (Hualien)／Makhampom Theatre Group (Ching Dao/Bangkok)／Oz Theatre Company (Taipei)／Philippine Educational Theater Association, PETA (Manila)／Shigang Mama Theater (Taichung Shigang)／Teater Kubur (Jakarta)／Teatro em Casa (Mozambique)／Theater Playground SHIIM (Busan)／Trans-Asia Sisters Theater (Taiwan)／WANG Mo-lin (Taiwan)／Wiji Thukul (Solo)／Yasen no Tsuki (Tokyo)

▍Recommenders

Lai Shu-Ya ／Director, Centre for Applied Theatre, Taiwan

Chen Chieh-Jen／Artist

Chen Hsin-Hsing ／Professor, Graduate Institute for Social Transformation Studies, SHU

Chou Hui-Ling／Professor, Department of English, NCU

Hsu Jen-hao／Associate Professor, Department of Theater Arts, NSYSU

Kuo Li-Hsin／Professor, Department of Radio & Television, NCCU

Shih Wan-Shun／Associate Professor, Department of Taiwan Literature, NTHU

Yao Lee-Chun／A Director of Body Phase Studio–Guling Street Avant-garde Theatre (GLT)

▍Characteristics of this book

1.Beyond the geographical limitations of Taiwan and East Asia, combined the context of Inter-Asian societies and Third-World society, appreciate the theater work methods that are intertwined with folk culture and community traditions, and promote the practice of public theater.

2. This book focuses on depicting network relationships in specific historical periods, and explores how the cooperation and interaction of troupes in these heterogeneous regions occurred. And how do these interactions affect the characteristics and forms of popular theater organizations in the transition of different policies?

3. What this book looks back on is not only the continuation and development of troupes but also the sudden change or gap between new people theaters and old people theaters.

TABLE OF CONTENTS

5 Opening Night

10 Mapping People’s Theater

13 PREFACE Make Inquiries among the People: A Kind of On-site Performative Archive

LIN Hsin-I

19 PREFACE Where Are the People? How Could the People’s Bodies Voice Themselves in the Form of Theatrical Aesthetics?

Joyce C.H. LIU

27 EDITORIAL NOTES Flowing Histories of People’s Theater in the Inter-Asian Context

Qi LI and Zikri RAHMAN

Part I

Heralds of Resistance: Inter-Asian People’s Theater In the Early Days

35 PETA’s GOLD: Gaming the Nation, Changing Asia

Glecy C. ATIENZA

55 Transnational Networks, People’s Theater and Radical Opposition in the New Order Indonesia

Muhammad FEBRIANSYAH

71 Moving History: Representation of Teater Kubur Performances from the New Order Regime to Post-Reformation in Indonesia

Ratu Selvi Agnesia and Dindon W.S.

85 Sejarah Yang Bergerak: Representasi Pertunjukan Teater Kubur Dari Orde Baru hingga Pasca Reformasi di Indonesia (Indonesian)

Ratu Selvi Agnesia and Dindon W.S.

97 A Transformative Theater of Dialogue: The Makhampom Theatre Group’s Negotiation of Thailand’s State of Repression

Richard BARBER

115 Angura Afterlives: On Sakurai Daizō’s Theory of “Tent Theater”

Robin WEICHERT

141 Review: Beyond These Words

AU Sow Yee

Part II

Emancipation of Body: The Origin and Transformation of

People’s Theater In Taiwan

147 People’s Theater in Taiwan: A Flooded History

HAN Jia-ling

177 The Presence of the Oppressed

WANG Mo-lin

185 Can Theater Transform the World? Reflections on the People’s Theater in Asia

CHUNG Chiao

197 Theater and the Worship Ground: Langasan Theatre

Adaw Palaf LANGASAN

207 Return to the Theater of the Oppressed: Trans-Asia Sisters Theater’s Empowerment, Organizing and Mobilization

Hsiao-Chuan HSIA

213 Between Acting and Realities: Towards a Self-reflexive Practice of Shigang Mama Theater

LEE Show Shin

221 Review: Little Theater and the People

WU Sih-Fong

Part III

Outspreads: Practices of Peoples Theater In Our Time

231 The Background and Activities of Theater Playground SHIIM

BAEK Dae-hyun and HONG Seung-yi

241 연극놀이터 , 쉼의 설립 배경과 활동 (Korean)

BAEK Dae-hyun and HONG Seung-yi

249 Grass Stage at the North Gate of Foxconn: from World Factory to the Five-year

Theatrical Practice of Workers’ Theater

ZHAO Chuan

261 At the Boundaries of Body, Society, and Theater

WANG Chu-yu

273 Yuquan Training: A Perspective in the Practice of Oz Theatre Company

LIU Hsin-hung

279 A Self-interview: Of Teatro em Casa and Glimpses of Mozambique’s Theater

Assane CASSIMO

287 Review: People’s Theater, A Total War Towards the Theater Institutions

KUO Liang-ting

Appendix

295 Biographies of Editors, Authors and Translators

305 Introduction to People’s Theater Practitioners

313 Glossary of English-Chinese/Original Terms

▍EDITORS INTRODUCTION

Qi Li

Qi Li is a Ph.D. student in Institute of Social Research and Cultural Studies in National Yang Ming Chiao Tung University. She came to Taiwan out of curiosity, then got a journey full of adventures. Her ongoing projects focus on life stories of the small theater practitioners, the technologies of mobility and governance in contemporary conditions, and the political-economic transitions on both sides of the Taiwan Strait over the last half-century. She writes articles and reviews for independent media and research institutions based in different countries. She was the coordinator of “Where the People Are…Workshop on People’s Theater in Inter-Asian Societies” in December 2018.

Zikri Rahman

Zikri Rahman has consistently embarked on collaborations with educational and cultural activist groups in various socio-political projects through Buku Jalanan, a rhizomatic network of street library movement he co-founded in the year 2011. Operating as a loose cultural and knowledge workers movements, it focuses on decentralizing the modes of knowledge production. Other than that, he is also affiliated with Pusat Sejarah Rakyat, independent archival research and documentation focusing on Malaysia and Singapore’s people’s history. With LiteraCity, he initiated a literary and cultural mapping project in the city of Kuala Lumpur. Currently pursuing his postgraduate studies in Social Research and Cultural Studies in Taiwan, Zikri is also a writer, independent researcher, translator, and podcaster for various ephemeral platforms.

Joyce C.H. Liu

Joyce C.H. Liu received her Ph.D. degree in Comparative Literature in 1984 from the University of Illinois at Urbana-Champaign, USA. Currently, Dr. Liu is the Director of the International Center for Cultural Studies, and a full-time professor at the International Program in Inter-Asia Cultural Studies, and the Director at the National Yang Ming Chiao Tung University. Her research focuses on geopolitics, biopolitics, border politics, internal coloniality, unequal citizens, epistemic decolonization, and artistic interventions. She has published six books, 100 peer-reviewed journal articles, and chapters and coedited nine books. She is leading two ongoing joint research projects: “Conflict, Justice, Decolonization: Critical Inter-Asia Cultural Studies,” awarded by the Ministry of Education, Taiwan (2018-2022), and “Migration, Logistics, and Unequal Citizens in the Global Context” (2019-2022), awarded by CHCI-Mellon Foundation.

▍CURATOR OF THE OPENING NIGHT

YAO Lee Chun

Theater director, producer and festival director, film researcher and curator.The director of Body Phase Studio since 2007 and has been as Director of Guling Street Avant-garde Theatre (GLT) since 2008.

▍PHOTOGRAPHER

HSU Ping

A documentary photographer. Over the past three decades, he has consistently documented the diverse phenomena of the post-Martial Law Taiwan and on/off the stage of modern theaters.

▍AUTHORS

Ratu Selvi Agnesia／A young female theater researcher active in Jakarta.

Glecy Cruz ATIENZA／A Professor at the College of Arts and Letters, University of the Philippines, Diliman, Quezon City.

AU Sow Yee／A guest writer for the online magazine No Man’s Land; Co-founder of Kuala Lumpur’s Rumah Attap Library and Collective.

BAEK Dae-hyun／A producer and an actor for the works of SHIIM.

Richard BARBER／A theater worker and independent scholar working as the co-director of Free Theatre in Melbourne, Australia and advisor to the Makhampom Theatre Group in Thailand.

Assane Alberto CASSIMO／A coordinator and founding member of Associação Teatro em Casa.

CHUNG Chiao／A playwright, theater director, poet, and the artistic director of Assignment Theatre.

Dindon W.S.／The Director of Teater Kubur.

Muhammad FEBRIANSYAH／A lecturer at School of Social Sciences, Universiti Sains Malaysia, Penang.

HAN Jia-ling／A history and rural education scholar and activist.

HONG Seung-yi／Currently working at Theater BAKK.

Hsiao-Chuan HSIA／A Professor at the Graduate Institute for Social Transformation Studies, Shih Hsin University.

KUO Liang-ting／An adjunct lecturer at the Chinese Department of National Chung Cheng University.

LEE Show Shin／An artist from community people’s theater and a family care worker.

LIU Hsin-hung／The main participant of Yuquan Training since 2015.

Adaw Palaf LANGASAN／The founder and director of Langasan Theatre.

WANG Chu-yu／A contemporary artist, performance artist, and curator based in Mainland China.

WANG Mo-lin／A theater director, performance artist and cultural critic Robin WEICHERT (Tokyo).

Robin WEICHERT (Tokyo)／A teacher of Hosei University, Tokyo.

WU Sih-Fong／A theater Critic, Associate editor of Performing Arts Forum (Macau).

ZHAO Chuana／A writer, theater maker and curator who creates alternative and socially engaged theater in China. Also, he is the founding member and mastermind of the theater collective Grass Stage since 2005.

▍TRANSLATORS

BAEK Jin-sol／A student of master programme of Inter-Asia Cultural Studies at National Tsing Hua University in Taiwan.

Kris CHI ／M.A. of National Central University Department of English.

Victor FUNG Tsz Ching／A freelance translator graduated from Department of English, City University of Hong Kong.

LEONG Jie Yu／A Master’s degree in English Language Studies from the University of Malaya.

LIANG Chun-wen／Graduated from Department of English, National Central University.

LO Chun Yat, Timothy／M.A. of the Institute of Social Research and Cultural Studies, National Yang Ming Chiao Ting University.

Shu-Chuan LIN／M.A. of National Chung Hsing University Department of Foreign Languages and Literatures and freelance translator.

IP Po Yee／M.A. of the Institute of Social Research and Cultural Studies, National Yang Ming Chiao Tung University.

Jonathan S. PARHUSIP／Ph.D. of the Institute of Social Research and Cultural Studies, National Yang Ming Chiao Tung University.

Kin TONG／A translator and researcher on psychoanalysis theory