厲復平。〈《層中隙》滲透臺南藝術節城市舞臺的文化治理與空間政治〉。《民俗曲藝》218 (2022.12): 59-112。
Lee Fu-ping. “The Infiltration of Mellemrum Tainan into Cultural Governance and Politics of Space in the City Stage Tainan Arts Festival.” Journal of Chinese Ritual, Theatre and Folklore 218 (2022.12): 59-112.
Abstract
2019 年臺南藝術節策展人周伶芝與郭亮廷邀請丹麥創作者強森（Kitt Johnson）與五位臺灣創作者在臺南現地共創特定場域表演《層中隙》（MELLEMRUM Tainan），該演出引導觀眾步行穿越市區許多僻靜小巷、通道乃至畸零狹地。本文援引後戲劇劇場（post-dramatic theatre）、藝術行動主義（artistic activism）及國際情境主義者（Situationist International）所倡議的漂移（dérive）與心理地理學（psychogeography）為參照，分析《層中隙》的本質不是一個不待觀眾就已意義確立的藝術作品，而是一個表演者、城市空間與觀眾參與者在當下啟動的溝通過程。面對這樣缺乏虛構敘事情節的特定場域表演，觀眾必須跳脫熟悉的戲劇劇場觀演模式，開拓新的觀演可能，探索不同於以往的感知模式來面對這樣的表演。寓身於2019 年臺南藝術節的《層中隙》表演行動歧出於歷年來臺南藝術節城市舞臺強調城市奇觀的環境劇場展演邏輯，既是滲透也是介入，協商全球資本主義政經體系下臺南藝術節內蘊的文化治理與空間政治。一如哈維（David Harvey）對壟斷地租的分析所提示，《層中隙》表演行動所揭示的內在張力開啟了一個希望空間，使得藝術可以成為偏移全球化資本主義軌跡的有效策略，這也正是本文論述《層中隙》的開拓性意涵。
In 2019, Tainan Art Festival curators Ling-chih
Chow周伶芝 and Liang-ting Kuo郭亮廷invited Danish artist Kitt
Johnson to collaborate with five Taiwanese artists in creating a site-specific
performance, MELLEMRUM Tainan層中隙, during which the audience
was guided through many secluded spaces in the old city of Tainan. In light of
post-dramatic theatre, artistic activism, and the concepts of dérive and
psychogeography proposed by Situationist International, this research analyzes
MELLEMRUM Tainan, not as an autonomous artwork with predetermined meanings
but as an immediate communications process between performers, urban space, and
audience. Due to the absence of fictional narratives in MELLEMRUM Tainan,
the audience could not seek its comfort zone of familiar spectatorship in
dramatic theatre but had to look for new ways of perception during the
performance. Deviating from the earlier genre of environmental theatre as urban
spectacle predominant in City Stage Tainan Arts Festival, the performative act
of implanting MELLEMRUM Tainan during the 2019 Tainan Arts Festival
represents an infiltration as well as an intervention that negotiates cultural
governance and politics of space under the political economy of global
capitalism. As suggested by David Harvey’s analysis of monopoly rent, the
inherent tension in this performative act is key to creating spaces of hope
where art could be an effective agent leading to deviation from the set course
of global capitalism, which shows how MELLEMRUM Tainan could be both
illuminating and inspiring.