Alienation Effects in Contemporary Xiqu Reconsidered: Chichiao Musical Theatre’s The Police Chalk Circle

一九三五年，梅蘭芳於莫斯科的京戲示範演出加深了布雷希特對疏離效果的 思考，儘管如此，傳統戲曲的演出並不因此而自動等同於布氏所提倡的疏離，也 不因此具有這種間離手法背後的基進目的。本文認為，關於疏離效果的討論， 應該回歸到布雷希特劇場的目標與精神，即，劇場工作者以打破慣習、開創新局 來製造奇異／歧異感、陌生感，讓觀者與戲情、劇中人物產生一種若即若離的關 係，在這個進可投入、退可抽離的彈性觀看空間當中，反思自身與社會的關係， 激發行動的能量。奇巧劇團二○一三年的《波麗士灰闌記》，由劉建幗改編自布 雷希特的《高加索灰闌記》。與首演同時，十餘萬民眾正在不遠的街頭抗議，要 求軍方公開下士洪仲丘的死亡真相。《波麗士灰闌記》融入當代的政治關懷，主 題與當時社會上方興未艾的公民運動相互呼應。該劇在劇本內涵、敘事手法、表 演上皆與布雷希特在史詩劇場所提倡的美學理論若合符節，而音樂上的勇於嘗試 與耕耘有成，以其別出心裁的「新意」與「新異」製造有力的疏離。本文試圖透 過奇巧的《波麗士灰闌記》，探看布雷希特的劇本與理論在台灣當代戲曲中，可 以如何落實、發展與變異。Although Mei Langfang’s Beijing opera performance in Moscow in 1935 inspired Brecht’s ideas of Alienation Effects, not all performances in xiqu (traditional Chinese sung drama) contain radical elements involving A-effects. This paper first argues that the discussion of Brechtian A-effects should focus on the ultimate goal of the production. That is, theatre practitioners defamiliarize the viewer and create a sense of strangeness by means of invention and breaking of theatre conventions, allowing the viewer to have a critical distance from the characters. In the space thus generated, the viewer is able to reflect his or her own relationship with the society, and further decides to take action to make a difference. The paper then discusses Chichiao Musical Theatre’s The Police Chalk Circle in 2013, adapted from Brecht’s The Caucasian Chalk Circle by Liu Jianguo. At the same time as the premier, a massive demonstration took place just a few blocks away, protesting and demanding disclosure of information regarding the unusual death of a young soldier. The Police Chalk Circle incorporates contemporary political concerns and sentiments, with its theme echoing the ongoing Taiwanese civil movement. Its narrative, acting and directing strategies are in line with the aesthetics of Brecht’s epic theatre. The novelty and surprise, particularly coming from its experiment with xiqu music, creates a powerful distancing effect. The paper attempts to explore how Brecht’s play and theory can be developed, transformed and reinvented in contemporary Taiwanese xiqu