陳玉慧《徵婚啟事》的眾聲喧嘩與文學試驗

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题名:	陳玉慧《徵婚啟事》的眾聲喧嘩與文學試驗
其它题名:	The uproar and literary experiment in Personals by Jade Y. Chen
作者:	唐毓麗 Tang, Yu-Li
貢獻者:	高雄師範大學國文學系 Department of Literature of Kaohsiung Normal University
关键词:	陳玉慧;《徵婚啟事》;隱形劇場;創作倫理 Jade Y. Chen;Persoals;invisible theater;writing ethic
日期:	2015-12-01
上传时间:	2017-08-16 15:08:46 (UTC+8)
出版者:	南華大學文學系
摘要:	陳玉慧（1957-）創作《徵婚啟事》，開啟了隱形劇場與台灣社會徵婚現況的深度連結，在思想與形式上，都催生了一個極其新穎的作品。本文探討陳玉慧在作品中，身兼徵婚者、紀錄者與創作者的多重身分，探索《徵婚啟事》運用隱形劇場的特質，呈現隱形劇場與欲望劇場的多元樣貌。本文認為《徵婚啟事》不應只被定位成徵婚小說、婚戀小說，而忽視了作品本身的曖昧性、對話性、前衛性與民眾性。《徵婚啟事》以近乎報導的形式，企圖將徵婚過程透明化，觀察徵婚主體的互動與論辯，紀錄了來自民眾的聲音，卻涉及了創作倫理的難題與自我暴露的掙扎。本文利用奧古斯都．波瓦（AugustoBoal）「隱形劇場」（invisible theater）理論，詮釋陳玉慧的文學實驗，探索她在八○年代末，以女性主動徵婚的行為藝術，透過徵婚劇場，大膽進行性別政治的越界，帶回42 個跨越階級與族群的徵婚者樣本，完成一個徵婚者、社會記錄者、文學創作者的觀察報告。《徵婚啟事》展現了群眾對婚姻與慾望不同的想像和迷惘，讓各階級的理念現身，揭開多元情欲存在的狀態，也探觸了文化更隱晦的樣貌，值得關注。 Personals created by Jade Y. Chen (1957-) was an extremely original work in thought and form and thus initiated the deep connection between the invisible theater and social status of marriage seeking in Taiwan. This paper explores the triple identities of the author as marriage seeker, recorder and creator in this work and presents the multiple images of invisible theater and theater of desire by inquiring into the characteristic of this work in applying the invisible theater. This paper argues that this work should not only just be seen as fiction of marriage seeking or love and marriage, while ignoring the multiple natures of it which is ambiguous, dialogical, avant-garde and popular. Personals intends to make the process of marriage seeking transparent and thus observes the interaction and debate of the subjects in the marriage seeking in almost the form of report. It records the voices of the populace and involves with the problem of writing ethic and the struggle of self-exposure. By applying the theory of Invisible Theater of Augusto Boal, this paper interpreates the literary experiment of Jade Y. Chen who completed an observation report as a marriage seeker, social reporter and writer by bringing 43 samples of marriage seeker from various classes and ethnicities in the late 1980s. By means of the performance art of the females who actively seeks marriage, she bravely engaged in border crossing of gender politics through the marriage theater. It is worthy of attention that Personals presents the different imagination and confusion of the populace towards the marriage and desire and the idea of each class so as to reveal the exsiting condition of various kinds of passion and the more obsure apprearance of culture.
關聯:	文學新鑰 22期
显示于类别:	[文學系] 文學新鑰 [本校期刊] 文學新鑰

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