Taiwan Panorama 2018 May

全球．在地．人文
台灣光華雜誌
中華民國107年5月第43卷第5期
中英文北美版
Vol. 43 No. 5 May 2018
CHINESE–ENGLISH BILINGUAL MONTHLY ISSN 1991-525X
5
Taiwan Panorama
跨國合作・舞出新藝
雕出台灣魂
重遊雜貨店時代
充滿台灣味的衛星
莎妹劇團
中華民國一〇七年五月
X
第七劇場
──
李光裕
第四三卷第五期
建議售價
NT$150
US$5
HK$40
¥600
百年梯田
Century-Old Terraced Fields

圖／文•林旻萱　版面設計•王敬勛
藏在新北市石門的山谷
深中，依著山勢層疊搭起
的梯田，是百年前先人開墾的
H idden deep in a valley of New Taipei City’s Shimen
District, these terraced paddy fields that adorn the hill-
sides embody the wisdom of our ancestors from 100 years
智慧，其中蜿蜒交錯的水渠與 ago. The winding and intersecting channels and embank-
石砌的田埂，構築出幾何圖形 ments form beautiful geometric patterns. In the fields that
般的美麗風景。而復耕後的水 have been restored to cultivation, farmers transplant seed-
田，農民在初春插下秧苗，等 lings in early spring, in expectation of an abundant harvest.
待來日結穗豐收。 (photo and text by Lin Min-hsuan/tr. by Phil Newell)
編者
人的絮話
語
跨國舞藝•交融共鳴
文．陳亮君
中華民國107年5月1日出版（月刊）／一場場台灣舞蹈家與日本、泰國、德國的此外，展現台灣節能、環保的玻璃回收產

中華民國65年1月1日創刊
出版者光華畫報雜誌社合作展演，所表現的除了是舞蹈家本身的創業，回收率居全球第二。其中「春池玻璃」

發行人／吳釗燮
Publisher: Jaushieh Joseph WU
社長／陳銘政作能量，也是跨文化舞團間磨合、包容與融一年的回收量就佔了台灣的7成，所減少的
Director: Henry M.J. CHEN
總編輯／陳亮君（代理）
Editor-in-Chief (acting): Ivan CHEN
合的成果。本期《光華》帶您深入跨國舞團碳排放量相當於蓋了500座的大安森林公
副總編輯／陳亮君
Deputy Editor-in-Chief: Ivan CHEN 彼此合作的方方面面，由「編舞者」跟「舞園。在實踐循環經濟的同時，看廢棄玻璃如
文稿主編／曾蘭淑
Editor: Esther TSENG
文稿副主編／郭玉平者」之間的角色切換，剖析每場成功的舞作何變身成防火、無毒的節能磚，以及各式頗
Deputy Editor: Camille KUO
文字編輯／鄧慧純陳群芳蘇俐穎
Writers: Cathy TENG, CHEN Chun-fang,
背後，所付出的努力與心境的轉變。富巧思的設計產品，開創出循環、永續的綠
Lynn SU
版面主編／胡如瑜
Director of Layout: HU Ju-yu
藝術家的工作，是能夠穿透對立，圓融契色產業。
美術編輯／蕭郢岑王敬勛
Art Editors: HSIAO Ying-tsen, Henry WANG 合，又能在矛盾的張力中，體現生命的價 * * *
攝影組召集人／莊坤儒
Photographic Coordinator: CHUANG Kung-ju
攝影組長／林格立值。當心靈飽滿了，創作怎會枯竭？李光裕由海外華商婦女菁英所組成的世華會，
Photographic Director: Jimmy LIN
攝影編輯／林旻萱
Photojournalist: LIN Min-hsuan
的《鬥牛系列》作品，饒富東方禪意及民俗二十多年來致力推動公益活動與僑務工
英文編輯／陳瑩潔唐樂榕倪凱駿
English Editors: Audrey CHEN, Robert TAYLOR, 元素，在2017年第57屆威尼斯雙年展中，作，成為我國國民外交不可或缺的「新女
Phil NEWELL
日文編輯／山口雪菜施家騏
Japanese Editors: YAMAGUCHI Yukina, 大放異彩。藝術、文化與人生，可體現於跨力」。此次藉由專訪首位自海外選出之總
Shila SHIH
印尼文編輯／陳德銘
Indonesian Editor: Temmy WIRYAWAN
國的舞團合作，也可展現在雋永的雕塑作品會長黎淑瑛，一窺世華婦女在國際奮鬥的
越南文編輯／武秋香
Vietnamese Editor: VU Thu Huong
資深行政編輯／段蜀華
中，有無之際、虛實之間，共同成就出屬於軌跡。
Senior Administrative Editor: DUAN Shu-hwa
台灣的藝術風情。早期街頭巷尾的雜貨店，是許多人小時候
總監／鍾宜蓉
Marketing Director: Carianne CHUNG
業務協理／陳俊偉 * * * 的回憶，小小不起眼的店家，除了比現在便
Deputy Manager: CHEN Jyun-wei
綜合服務組長／陳淑英
Chief of General Affairs: CHEN Shu-ing
歷經千辛萬苦，台灣第一枚自主研發製造利商店的密度更高外，店家的生意起伏更緊
綜合服務組／李淑慧
General Affairs: S.H. LEE 的高解析度光學遙測衛星──福衛五號，終貼著當地產業的發展史。這份對於在地的情
發行組／何世隆
Circulation: HO Shih-lung
於順利升空。不過升空後，考驗才正要開懷，就如「影像對話」中金門的建築痕跡，
社址／中華民國台灣台北市10051中正區天津街2號
Address: No. 2, Tianjin Street, Taipei 10051,
Taiwan, ROC
始，電力問題、影像問題接踵而來，看國內從傳統閩式建築、僑匯時期洋樓、軍事化設
郵政信箱／10099台北復興橋郵政第8-398號信箱
E-mail: service@taiwan-panorama.com 專家如何抽絲剝繭，克服難關，展現台灣太施，到如今臨近海濱的咖啡館，百年來的歷
PO Box 8-398, Taipei Fuxing Bridge, Taipei City
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本刊物印刷油墨使用環保認證大豆油墨
Let’s Dance: EDITOR’S NOTE
Transnational Collaborations
C ollaborations between Taiwanese danc- bon footprint is equivalent to reforesting an SUBSCRIPTION RATES:
Republic of China: NT$150 per copy,
ers and dancers from Japan, Thailand area the size of 500 Da’an Parks. The company NT$1500/year, NT$2600/2 years
Asia & Paciﬁc Regions: US$40/year,
and Germany demonstrate the performers’ is helping to push Taiwan toward becoming US$72/2 years by airmail
North America: US$32/year,
creative skills and show off the fruits of a “circular economy” and fostering the rise of US$55/2 years by regular mail
Elsewhere: US$45/year,
cross-cultural exchange. This month we green, sustainable industries as it shows how US$80/2 years by airmail
delve into transnational cooperation among waste glass can be turned into fire-resistant,
原刊名光華 Sinorama Magazine
中華民國95年1月改為台灣光華雜誌
performing artists, spotlighting the hard non-toxic insulating blocks as well as a vari-
Taiwan Panorama
GPN: 2008000038 ISSN1991-525X
work and emotional energy that is required ety of other ingeniously designed products. 中華民國行政院新聞局出版事業登記證局版台誌
to put on such productions successfully. The Global Federation of Chinese Business

第四七○○號
中華郵政台北雜字第186號執照登記為雜誌交寄
承印者／中華彩色印刷股份有限公司
The job of an artist is to cut through conflict Women, made up of ethnic Chinese business- 地址／新北市新店區寶橋路229號
電話／+886-2-2915-0123
and find harmony, and to find value in the women worldwide, has been promoting pub-
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國內零售每本150元，訂閱價格：一年1500元，
yu’s extraordinary “Bullfighting” series, In this issue we spotlight Li Shu-ying, its first 二年2600元
which earned acclaim at the 2017 Venice Bi- overseas-based chairwoman, who serves an Taiwan Panorama (USPS 000624) is published
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ennale, expresses the artist’s Asian heritage irreplaceable role in strengthening Taiwan’s Publishing (USA), Inc., 3731 Wilshire Blvd 104,
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Like the collaborations between performers of Many remember wistfully the traditional at Los Angeles, California.
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different nations, Lee’s timeless masterpieces general stores once found on streets and Hwa Publishing (USA), Inc., 3731 Wilshire Blvd
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convey a Taiwanese artistic sensibility. alleys all over Taiwan. Small and unpreten- 美加地區讀者請逕向美國光華出版公司訂閱
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董事長：楊國添　
a succession of power supply and imaging is much like the interest in Kinmen’s old 助理：吳佳穎葛崇高
President: K.T. YANG
problems. We report on the experts who in- buildings chronicled in this month’s Photo Assistants: WU Chia-ying, Thomas KOH
vestigated and overcame these difficulties, Essay. The outlying island has witnessed an 著作權所有，本雜誌圖文非經同意不得轉載。
如欲轉載，請與本社資深行政聯絡。
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請寄至本社調換。
aerospace technology. jianese architecture, to “Western-style” villas All rights reserved. Photos and articles may not be
reprinted without our permission.
Taiwan’s rate of glass recycling—a mea- built a century ago by locals who returned If you wish to reprint any of our articles or
photographs, please contact our senior
sure of commitment to environmental stew- after making their fortunes in Southeast Asia, administrative editor.
Damaged or misbound copies returned to us will
ardship—ranks second in the world. Spring to the military installations of more recent be gladly replaced.
Pool Glass handles 70% of Taiwan’s glass history, and the beachfront cafés of today. l
recycling. Its impact in reducing Taiwan’s car- (Ivan Chen/tr. by Jonathan Barnard)
目次
CONTENTS 中華民國107年5月第43卷第5期 Vol. 43 No. 5 May 2018
8 封面故事 Cover Story
6 跨國合作•舞出新藝
Dancing Partners—International
Collaboration in the Performing Arts
圖•莊坤儒
8 莎妹劇團 X 第七劇場
台日共演，異質碰撞
Taiwanese and Japanese Dramatists
Collaborate to Push Theatrical Boundaries
文•鄧慧純　圖•莊坤儒
20
20 跨國共創歡愉舞步
驫舞劇場──陳武康、蘇威嘉
Crossing Cultures to Create a Dance of
Joy—Horse Dance Theatre
文•陳群芳　圖•驫舞劇場提供
30 讓世界驚豔的創作能量
丞舞製作團隊──蔡博丞
Tsai Po-cheng, Millennial Master of
Choreography
文•陳亮君　圖•丞舞製作團隊提供
40 借鏡德國•回流台灣
30
跨國共製──聚合舞《Unsolved》
Identity Reflected in a Distant Land
—The German–Taiwanese Dance
Production Unsolved
文•蘇俐穎　圖•聚合舞提供
編者的話來自地方的明信片
Editor’s Note Postcards from Home
2 跨國舞藝•交融共鳴 1 百年梯田 52 月月好讀

Let’s Dance: Century-Old Terraced Fields Variety Pages
Transnational Collaborations 圖／文•林旻萱劉克襄
文•陳亮君
影像對話 Photo Essay
封面說明：
丞舞製作團隊劇作《Hugin／Munin》裡兩隻烏鴉，
56 金門島建築流變
是戰神奧丁的寵物，一隻代表記憶，另一隻代表思維。 Kinmen’s Changing Architecture
圖／文•莊坤儒
（周懿文攝）
Cover: The ravens in B.Dance’s Hugin/Munin are pets of
Odin, the God of War. One represents memory and the 全球視野 Global Outlook
other thinking. (photo by Chou Yi-wen)
66 串起海外的溫柔力量
世華會總會長黎淑瑛
A Different Kind of Soft Power
—Li Shu-ying and the Global Federation of
Chinese Business Women
文•陳群芳　圖•世華會提供
74 充滿台灣味的衛星
福衛五號展現台灣太空研發能量
74
A Taiwanese Satellite: Formosat-5
Highlights Space R&D Capabilities
文•曾蘭淑　圖•國家太空中心提供
島嶼行旅 Around Taiwan
84 重遊雜貨店時代
揭開人情、風土、時代的窗景
Traditional Grocery Stores
—A Window on a More Personal Age
文•蘇俐穎　圖•莊坤儒
藝文脈絡 Cultural Trends
94 雕出台灣魂──李光裕
84
讓世界看見空靈的生命美學
Sculpting a Taiwanese Soul—Lee Kuang-yu
文•李珊瑋　圖•采泥藝術提供
產業新創 Entrepreneurship
104 春池玻璃
回收玻璃的永續進行式
Spring Pool Glass:
Sustainability Through Recycling
文•鄧慧純　圖•林格立
多元族群 Communities
94
116 制度化建置的推手
司法通譯硬漢──陳允萍
Making the Case for Judicial Interpretation
—Peter Chen
文•李珊瑋　圖•林旻萱
封面故事
COVER
S TO RY
跨國合作‧ 舞出新藝
Dancing Partners
—International Collaboration
in the Performing Arts
圖•莊坤儒　版面設計•蕭郢岑
6 台灣光華 Taiwan Panorama 2018/05

7
封面故事
COVER
S TO RY

莎妹劇團 X 第七劇場
台日共演異質碰撞
Taiwanese and Japanese

Dramatists Collaborate
to Push Theatrical Boundaries
文•鄧慧純　圖•莊坤儒　版面設計•蕭郢岑
當英國喬治•歐威爾的政治諷喻科幻小說《1984》
遇上俄國寫實主義劇作家契訶夫的《三姐妹》，會是
如何的光景？
2017年底，由台灣「莎士比亞的妹妹們的劇團」
（簡稱「莎妹劇團」）與日本「第七劇場」合作的劇
碼《1984，三姊妹一家子的日子》在台、日上演。劇
本由莎妹劇團的王嘉明改寫，第七劇場的鳴海康平導
演，兩人共譜網路世代裡的現代寓言，在劇場上探索
台日合作的可能性。
W hat happens when George Orwell’s novel 1984, a

work of political allegory and satire, meets the play
Three Sisters by Russian realist writer Anton Chekhov?
At the end of 2017, Taiwan’s Shakespeare’s Wild Sis-
ters Group and Japan’s Dainanagekijo theater company
endeavored to find the answer to that question when they
staged their Note Exchange Vol. 2: 1984. The script was
adapted by SWSG’s Wang Chia-ming and Dainanagekijo’s
Kouhei Narumi, who together created a fable for the In-
ternet age while exploring the possibilities for Taiwanese–
Japanese collaboration in the realm of theater.
9
「將俄國劇作家契科夫的《三姊妹》加上喬治• 留《三姊妹》的架構，將《1984》的「監控」融
歐威爾的《1984》，這個念頭『真的非常可怕的入三姐妹的生活中，讓群體成為監控的來源，完
難』。」這句話王嘉明重複了兩次。成了《1984，三姊妹一家子的日子》。王嘉明提
問：「當監視來自於最親密的彼此時，這個家庭
《1984》+《三姊妹》
會走到怎麼樣的地步？」。
《1984》是諷刺極權主義的政治小說，多數以道德和親密關係為牽制，不管是家庭成員言
的篇幅是主角Winston的自言自語，他意圖抵抗談間無意的勸阻，或是有意的關心，都成為無所
老大哥的監控，爭取個人的自主、自由，呈現的不在的監視。三姊妹的大哥Winston，他始終質
是「一個人」的觀點。而《三姊妹》的形式是劇疑大企業無所不在地監視和操控，親友反勸他別
本，講述家庭中三姐妹的際遇，是「群體」的故想太多，要他試著融入社會，好好過日子。最終
事。契科夫利用對白描述人際關係的細節，寫實他被送進101室（《1984》書中進行思想改造的
地呈現現實生活的樣態，許多台詞就像日常不時房間），臣服於老大哥的洗腦。小妹Irena則從一
出現的無意義對話，表現生活的空洞和無力感，兩開場是個天真浪漫的少女，變成看不慣異己的存
者的主題和語言風格是截然不同的，王嘉明解釋。在、舉槍執行自身正義的行刑者（槍殺了所有家
設想了多種組合可能性後，王嘉明最終決定保庭成員）。

“Adding Orwell’s 1984 to Chekhov’s Three Sisters monitoring comes from those with whom you are most
was a frighteningly difficult idea.” Wang Chia-ming re- intimate, what path will a family go down?”
peats this for emphasis. Morality and intimacy become sources of control,
1984 + Three Sisters with family members exercising pervasive—if inadver-
The political novel 1984 is a satire of totalitarianism. tent—monitoring of each other via their expressions
Most of the book is based around the ruminations of its of discouragement or concern. The three sisters’ older
protagonist Winston Smith, who is determined to resist brother Winston is overly suspicious that large corpo-
the control of Big Brother. Hence it conveys a personal rations are constantly monitoring people. Winston’s
point of view. Three Sisters, on the other hand, is a script friends and relatives are always urging him not to
that portrays the fortunes of three sisters and thus offers worry so much and to try to fit in socially. Eventually he
a collective narrative. Chekhov uses lines of dialogue to gets sent to Room 101 (the place in 1984 where thought
detail interpersonal relations, realistically portraying the transformation is practiced) and undergoes brainwash-
sisters’ way of life. The themes and linguistic styles of ing. The youngest sister, Irena, starts out as an innocent
the two works are completely different, explains Wang. and romantic girl, but she ends up disapproving of
After considering various possibilities for combining those who are different from her, and she takes up arms
the works, Wang ended up deciding on keeping the to enforce her own sense of righteousness, shooting all
basic framework of Three Sisters while introducing the her family members.
monitoring of 1984 into their lives, with the collective of Cultural and historical context
the family now becoming the source of the surveillance. Apart from commenting on the ubiquity of tracking
That prompts Wang to raise the question: “When the and surveillance in the networked age, in the play the
《1984》的「監控」融入《三姐妹》的生活，
群體成為監控的來源。
When the constant surveillance of Orwell’s 1984 meets the family life
of Chekhov’s Three Sisters, the group becomes the source of control.
11
於是，鳴海康平設計圓形的舞台空間，突顯人
寓言故事的背後
與人之間無止盡的窺伺與監控。每位演員都穿著
這樣一部講述網路世代監控無所不在的寓言樣式類似的黑色外套，象徵在大企業的控制下，
裡，在故事主線之外，兩位導演埋入更多與當代每個個體都像人偶般趨向一致，沒有自己的風
社會互文的隱喻。格。
王嘉明把故事背景設定在世界剛經歷一場核戰而劇中設定的未來，科技已進步到能跨越不同
後的無政府狀態，各項資源重新分配，由三大企語言的障礙。舞台上，台日演員靠著衣領間提供
業：美洲的Apple Shell 會社、亞洲的GooBrother 即時翻譯的LED發報器，就能直接對話溝通（台
會社、非洲的Deep Monsando會社（暗指蘋果公下觀眾靠著投影在布幕上的翻譯文字）；但劇中
司、Google、基因改造公司孟山都）所壟斷，一發報器曾一度失靈，我們卻發現大家在聽不懂各
切的資訊與知識來自網路共享，娛樂和休閒也由自話語的同時，世界依然運轉；才讓人領悟，導
這些大企業提供，世界「看似」便利且自由。演反諷著「說者無心，聽者未聞」的事實，而這
鳴海康平則從王嘉明的劇本中讀到：文化多元也寫實地反映了我們日常生活的樣態。
日漸消失、趨向單一的警訊。當大家只追求更便而舞台上大量堆疊、不全然存有意義或目的的
利的生活、更重視虛擬的人際關係和娛樂時，每對話，有時是角色的自言自語，有時說者無心，
個個體就形同被GooBrother綁架一般，浸溺在虛聽者也不在意，這讓人熟悉的似曾相似，也讓觀
擬的世界，而當一個社會日漸趨同而容不下異己者驚覺，導演在叨叨絮絮中把生活的細瑣搬上舞
時，崩壞的結果必然指日可見。台，搬演人際關係中無所不在的監控。

two directors make intertextual allusions to contempo-
rary society.
Wang chose to set the play in a period of anarchy fol-
lowing a nuclear war, when the world has fallen under
the control of just three major corporations: America’s
Apple Shell, Asia’s GooBrother, and Africa’s Deep
Monsando. All information and knowledge comes from
the Internet, and leisure activities are also provided by
these companies. On the surface, the world seems con-
venient and free.
In Wang’s script, Kouh ei Nar umi saw a warning
about how diversity was giving way to uniformity. And
once a society begins to move against plurality and dif-
ference, signs of its breakdown are sure to follow.
For the production, Narumi designed a round stage
to highlight the sense of omnipresent snooping and
surveillance. All the actors wear similarly styled black
clothing, symbolizing the control that large corpora-
tions have over them. Their appearances are uniform,
with none showing any individual style.
Most of the lines uttered on stage aren’t full of great
meaning or purpose. Sometimes characters mumble to
themselves. At other times they speak—conveying no
particular meaning—to listeners who don’t seem to care
much either. Such utterances seem strangely familiar,
and suddenly the audience realize that the director is
using the blather to convey the nuances of the charac-
ters’ lives, as well as highlighting the ubiquitous moni-
toring inherent in interpersonal relations.
Collaborative challenges
The play is the fruit of a second year of cooperation
and exchange between Taiwan’s Shakespeare’s Wild
Sisters Group and Japan’s Dainanagekijo.
13
導演的交換手札 Established in 1995, SWSG is one of Taiwan’s senior
theater companies, and Wang Chia-ming is known as
這部《1984，三姊妹一家子的日子》是台灣 the enfant terrible of Taiwan’s theater scene. Kouhei Na
「莎妹劇團」、日本「第七劇場」發起的「交換 rumi had seen productions of Richard III and Zodiac that
手札計畫」第二年的作品。 Wang had directed. “When you watch plays directed by
成立於1995年的「莎妹劇團」，是台灣元老級 Wang Chia-ming, you can tell that this director has a lot
的劇團，劇團以原創劇本及前衛劇場美學為發展 of crazy ideas,” he says, “but he is also adept at beauti
fully realizing his visions by harnessing the power of
目標，王嘉明在台灣劇場界則有「劇場頑童」之
the entire company.”
稱。鳴海康平看過王嘉明執導的《理查三世》、
Dainanagekijo was founded by Narumi in Japan’s
《Zodiac》，他說：「從王嘉明的戲中，可以看
Mie Prefecture. It combines the techniques and train-
出這個導演有很多瘋狂的想法，而且有很強的實 ing of traditional Noh theater and Kabuki with those
現力，可以藉由整個團隊的力量把想法完美的演 of European dramatic arts, offering a new direction for
繹出來。」 Japanese theater. “Visually, Narumi’s works build on
「第七劇場」則是鳴海康平1999年成立的劇 interesting literary or philosophical foundations,” says
團，以日本三重縣為據點，其結合能劇及歌舞伎 Wang.
“A sense of paranoia pervades the works of both,”
身體訓練，走出當代日本劇場新方向，劇作在
notes the producer Yukio Nitta, “so their collaborations
海內外均獲得高度評價，多次與韓國、德國、
are sure be pretty strange.” At Nitta’s recommendation,
法國進行跨國合作計畫。「他的作品在視覺上有 the two theater groups launched a three-year plan for
一種有趣的文學或哲學的底子，讓人一直想看下 collaborations.
去。」王嘉明表示。 Beginning in 2016, the companies exchanged one
製作人陳汗青則覺得「他們兩個人的作品裡都 person each, with Wang and Narumi separately leading

台日演員共演，舞台上中日文夾雜。
With the collaboration between the
Shakespeare’s Wild Sisters Group and
Japan’s Dainanagekijo theater company,
the lines uttered on this stage have
become a mix of Chinese and Japanese.
15
有差異，也有默
契，讓此次跨國
共製的成果更有
魅力。
The different
approaches taken
by the performers
of the two nations,
as well as the
understanding
between them,
have made the
fruits of their
partnership
particularly
captivating.
有一種偏執的成分存在，兩位導演有相似又有不覺得有這些狀況和問題，才是有趣的地方。……也
同的部分，合作起來應該會蠻奇怪的，所以就會因為語言無法溝通，我們反而會更專注去探究溝
想把他們湊在一起。」由陳汗青的引薦，台日雙通到底是什麼。」王嘉明在演後座談中談到。
方就此展開為期3年的合作計畫。鳴海康平則觀察到：「台灣演員的情感較為外
2016年開始的「杜斯妥也夫斯基計畫」，兩顯，而日本人在處理情感表現時，或許在心裡起
劇團各交換一名演員，王嘉明和鳴海康平分別以了巨大的波瀾，但是很難外流，我覺得這是兩邊
《地下室手記》、《罪與罰》為本，在當代舞台演員較大的不同。」
上重新演繹經典文學名著。2017年的合作案，直因為這些差異，讓王嘉明撰寫劇本時，嘗試將
接合二為一，由王嘉明負責劇本，鳴海康平導演員做各種不同的排列組合，看看不同的表演方
演，《1984，三姊妹一家子的日子》由台日演員式，聽聽不同的聲音質地。「這是一種韻律，不
共演，因此舞台上的聲音中日文交雜，這不僅對同的化學變化，對我來說這種東西是重要的。不
演員是考驗，「語言」也是兩位導演一致認為最一樣一定是存在的，你不可能調成一樣，怎麼樣
困難的地方。利用不一樣，對我來說才是重點。」
這些不一樣激盪出的不只是舞台上的化學反
異質碰撞，互動對話
應，身兼翻譯的陳汗青也分享，排練初期需要藉由
「最困難的還是語言問題，因為語言不僅只是大量翻譯才能理解雙方的想法，但到了中段，常常
語言，它還有文化上、語速上的歧異。但是我反而陳汗青才翻譯第一句話，鳴海康平就以眼神示意，

contemporary stage adaptations of Notes from the Under- he tries to arrange the actors in different combinations
ground and Crime and Punishment. For 2017 the collabo- that highlight these disparities. “It creates different
ration brought them to work together on Note Exchange rhythms and chemistry…. There truly are differences….
Vol. 2: 1984. The production features a mix of Japanese The key thing is to make use of them.”
and Chinese, which posed huge challenges for the ac- It has fostered more than just on-stage chemistry,
tors. The two directors likewise cited language as the notes Yukio Nitta, who also handled translation for the
most difficult aspect of their work together. production: The early stages of rehearsals required a
Cross-cultural collision and dialogue lot of translation for the two groups to understand each
“The language gap caused the biggest problems,” other. But by half way through the preparations, Nitta
said Wang in a post-performance seminar. “That’s would only need to get through the first sentence of an
because language is more than just language: it also explanation before Narumi would demonstrate with
underp ins culture and dramatic timing. Yet I believe his expression that he understood without any need
that these problems are actually a source of interest…. for further translation. The actors also shared a kind of
Since we couldn’t communicate through language, we tacit understanding communicated through their bod-
were forced to focus more on examining what exactly ies, emotions and glances. This aspect of transnational
communication is.” cooperation is something that Nitta finds particularly
“Taiwan’s actors are more emotionally explicit,” Na interesting.
rumi observes. “On the other hand, when Japanese ac- The exchange between the companies has entered its
tors process emotions, they may stir huge waves within, third year in 2018. Wang and Narumi plan on producing
but they are more constrained in their expression. I feel a stage adaptation of Café Lumière, Hou Hsiao-hsien’s
that this is one big difference.” homage to the work of the iconic Japanese film director
Consequently, when Wang Chia-ming writes scripts, Yasujiro Ozu.
17
不須翻譯他就懂了。到了後期，演員跟演員也都出新的表現手法時，王嘉明則在一旁搔搔頭說：
有了默契，透過身體、情緒、眼神就能溝通。這「目前最大的挑戰是現在還不知道該怎麼辦。」
也是陳汗青在這跨國合作中發現有趣的地方。說完自己哈哈大笑。
問起兩地觀眾的反應，兩位導演則給出了截然兩位導演迥異的反應，讓我想到鳴海康平訪談
不同的解讀。鳴海康平表示：「日本是非常的壓中曾提到：「戲劇是呈現差異最好的介質，也就
抑、沉穩的民族，所以連我自己都很難準確捕抓到是說戲劇會因為有這些差異而變得更有趣，因為
日本觀眾對戲的感覺。但台灣的觀眾在進場時，就承受了這些差異而變得更好玩，這是合作裡面最
帶著一種期待，來享受這個作品的氣氛，光這一有趣的部份。」回想這番話，讓我們更期待第3年
點就讓我比較安心了。」王嘉明則笑說：「日本的作品，台日合作能激盪出更有趣的火花。 l
觀眾真的很認真，他們會坐得挺直，很安靜、很
專注地看你的作品，對我來說也是一種安心。」
2018年，交換手札計畫邁入第3年，王嘉明和
鳴海康平打算以侯孝賢向日本已故導演小津安二
郎致意的電影《咖啡時光》為基點，進行第3年
的製作。
當鳴海康平認真地思索著、解釋第3年的合作
挑戰是如何在前兩年累積的經驗與默契中，發展
圓形的舞台空間，
突顯人與人之間無止盡的窺伺與監控。
The round stage conveys a sense of voyeurism
and monitoring in interpersonal relations.

Narumi emphasizes the need to think hard about is the best medium for revealing differences—which
how best to leverage the experience and mutual under is to say that heterogeneity makes theater more inter
standing gained from the past two years of collabora esting, because the medium absorbs differences to
tion to tackle the challenges of developing entirely new become more fun. That is the most fascinating aspect
methods for the third year. Scratching his head at Na of collaborations.” The comment only makes me more
rumi’s side, Wang blurts out, “Our biggest challenge eagerly await the fruits of this third year of Taiwanese–
right now is that we still don’t know what the heck Japanese collaboration, which is sure to produce a har-
we’re doing!” He then bursts into laughter. vest ever weirder and more marvelous. l
Hearing the two directors’ reflections made me re- (Cathy Teng/photos by Chuang Kung-ju/
call something else Narumi had said to me: “Theater tr. by Jonathan Barnard)
19
封面故事
COVER
S TO RY

跨國共創歡愉舞步
驫舞劇場──陳武康、蘇威嘉
Crossing Cultures to Create a Dance of Joy

—Horse Dance Theatre
文•陳群芳　圖•驫舞劇場提供　版面設計•蕭郢岑
驫，音同飆，意指眾馬奔騰。2004年陳武康、蘇威嘉及朋友們
成立舞團，取名「驫舞劇場」。貼切地形容年輕舞者們的豐沛創作
力在此激盪、揮灑，為台灣的舞蹈藝術注入一股渾厚的生命力。十
多年來不斷嘗試各種創作語彙與跨文化合作，驫舞劇場與美國、法
國、香港、以色列等各國藝文人才共同端出許多精彩作品。
當年二十多歲的大男孩們，如今積累了更多人生經歷而變得成
熟，除了向外探索創作的可能性，內心也對肢體表達與傳統文化的
追尋有了更深的渴望。今年5月，驫舞劇場與泰國當代編舞家皮歇•
克朗淳合作演出《半身相》，彼此以文化提問，用肢體作答，帶來
一場探究傳統的藝術饗宴。
H orse Dance Theatre was founded in 2004 by Chen Wu-kang, Su Wei-

chia, and a group of their friends. In the troupe’s Chinese name,
Biao Wu Juchang (“Biao Dance Theater”), the character biao (驫)—
meaning “like many galloping horses”—is composed of the character ma
(馬)—“horse”—three times over, and represents strong motivation and
explosive energy. Armed with abundant creativity, this group of young
dancers set out to inject new vitality into Taiwanese dance art. In the
decade-plus since the troupe was established, they have gone on to col-
laborate with artists from places including the US, France, Hong Kong,
and Israel on a number of wonderful works.
Along the way, the boys have matured into men, exploring new cre-
ative possibilities and developing a deeper desire to express traditional
culture in physical ways. In May this year, Horse Dance Theatre will
perform Be Half, a collaboration with Thai choreographer Pichet Klun
chun that promises to be an artistic feast.
21
陳武康（左）、蘇威嘉（右）及其他好友共同成立
驫舞劇場，熱情洋溢的創作動能，
為台灣當代舞蹈帶來源源不絕的生命力。（林格立攝）
Chen Wu-kang (left), Su Wei-chia (right), and friends came
together to form Horse Dance Theatre. Their passion and
creative energy have injected inexhaustible vitality into modern
dance in Taiwan. (photo by Jimmy Lin)
風氣帶回台灣，與好友們創辦驫舞劇場，不斷創
作，開發當代舞蹈的更多可能；來自泰國的皮歇•
克朗淳，16歲向泰國箜舞大師學習傳統舞蹈，後
來前往美國深造，將傳統舞的基礎化為養分，融
入現代舞的詮釋，並成立泰國第一個當代舞團，
其開創的舞蹈新局，深受國際肯定。
學習西方芭蕾的陳武康，他笑說，曾跳舞跳到
一度以為自己是金髮的外國人，傳統對他而言是
模糊的。而皮歇•克朗淳深厚的文化根基，讓陳
武康在他身上看到了自己對於「傳統」的解答。
甚麼文化能代表自己？或著該擁抱甚麼樣的傳統
文化？
於是陳武康邀請皮歇•克朗淳共同執行「身體
的傳統」計畫。去探究在不同的歷史脈絡下的舞
蹈是如何形成，這對肢體的影響又是如何？兩人
「甚麼是台灣的身體？」這是驫舞劇場藝術在梳理歷史的過程中，陳武康發現，如果先接受
總監陳武康的疑問，也是許多藝術工作者心中的自己的歷史背景，再將台灣文化想像成士林夜市
大哉問。台灣的民主與自由，讓我們能包容多元的美食「大餅包小餅」，一口咬下，有軟有脆、
文化，但同時卻也模糊了傳統文化的樣貌，原住有甜有鹹，彼此同時存在卻不衝突，也許就不需
民、閩南、客家、外省人、新住民等，每個族群
都自有特色，沒有一方能被定調代表台灣。這問
題就像是個無解謎，但卻引發更多思考，而陳武
康在追尋的過程，因緣結識泰國編舞家皮歇•克
朗淳，使他長久以來對自身文化脈絡的困惑，得
以有了爬梳的契機。
台泰共譯身體的傳統
2016年來自泰國的當代編舞家皮歇•克朗淳獲
邀來台舉辦文化講座，會後經友人介紹，來到驫
舞劇場拜訪。學習泰國傳統舞蹈箜舞的皮歇•克
朗淳，散發著平靜祥和的氣質，吸引了陳武康。
兩人在交談中發現彼此的相似：陳武康12歲
學習芭蕾，23歲進入紐約的舞團，將國外自由的

“What is the ‘body’ of Taiwan?” That is the funda- 驫舞劇場與泰國編舞家皮歇•克朗淳（左及下圖），
透過工作坊交流，共同尋找身體的傳統。
mental question being asked by Horse Dance Theatre’s Horse Dance Theatre worked with Thai choreographer Pichet
artistic director, Chen Wu-kang. Democratic and free, Klunchun (left, and lower picture on facing page) in a joint
exploration they called “Body Tradition.”
Taiwan embraces many cultures, but at the same time
it lacks a clear understanding of its own traditional
culture. Each ethnic group has its own characteristic cul-
ture, but no single one can be said to represent Taiwan With such questions in mind, Chen invited Klunchun
by itself. This may seem like a puzzle without a solution, to work with him on a project entitled “Body Tradi-
but it is nonetheless one worth more contemplation. tion.” Together they explored the forms dance has taken
Translating Thai and Taiwanese traditions in different historical contexts and how those contexts
In 2016, Thai contemporary dance choreographer have influenced physical expression. Combing through
Pic het Klunc hun visited Horse Dance Theatre after history, Chen found that by accepting his own historical
an introduction from a friend. Klunchun, who started background, Taiwanese culture became like a pastry
studying a traditional Thai dance form called “khon” at wrapped in a flatbread—in one bite, you can get crispy
an early age, exudes an air of calm and tranquility that and soft, sweet and savory, all co-existing without con-
immediately captured Chen Wu-kang’s attention. flicting. Maybe, in the end, there is actually no need to
As they chatted, the two discovered many similarities draw hard lines between them. It is this change in per-
with one another: Chen began studying ballet at age 12, spective that Chen Wu-kang and Pichet Klunchun have
went on to join a dance troupe in New York at 23, and worked together to present in Be Half.
later returned to Taiwan to found Horse Dance Theatre An epic tour of the Ramayana
with friends; Klunchun started studying khon with a Working with Klunchun also sparked an interest in
renowned master at age 16, later traveling to the US, and Southeast-Asian dance in Chen. What, exactly, is khon?
then establishing Thailand’s first modern dance troupe. How was it passed down to modern times? Thus began
Having studied the Western ballet style, Chen jokes Chen’s three-year “Epic Tour of the Ramayana” project.
that at one point he got so immersed he almost thought With Klunchun leading the way, in 2017 Chen traveled
he was a stereotypical blond white guy, and “tradition” through Indonesia, Cambodia, Thailand and Myanmar,
had become a vague notion at best to him. Klunchun, visiting masters of traditional dance and tracing their
however, has set down deep roots in traditional culture, traditions back to the source.
and helped Chen realize what tradition meant to him. Beyond being amazed by the years of dedication
What culture could really represent him? Or rather, what these masters had invested into traditional dance,
culture and traditions should he embrace? Chen was also shocked to find that many traditional
23
要劃分的如此絕對。這段心境的轉折，也將在由在消失中。今年底他將逐一上門拜師，陳武康會
陳武康與皮歇•克朗淳共同創作及演出的作品如何將東南亞傳統舞蹈的養分融入他的創作裡，
《半身相》中呈現。著實令人期待。
羅摩衍那的史詩之旅跨國文化養分
與皮歇•克朗淳的合作，激起了陳武康對東驫舞劇場的豐富多元，在創團初期就可見端
南亞舞蹈的興趣，已有數百年歷史的箜舞，究竟倪。
從何而來？由誰傳授？進而延伸出「打開羅摩衍 2005年驫舞劇場的創團首演作品《M_Dans》
那的身體史詩」三年計畫。2017年由皮歇•克朗裡，就有兩首來自外國編舞家的作品。創團當時
淳領路，陳武康走訪了印尼、緬甸、泰國、柬埔陳武康維持一半時間在紐約、一半時間在台灣的
寨，拜訪這些國家傳統舞的大師，展開一場東南工作型態。他向紐約的舞團老師邀請作品，器重
亞傳統舞蹈的溯源之旅。陳武康的編舞家Eliot Feld便將原本為舞蹈家巴瑞
箜舞是泰國的宮廷舞，深受印度史詩《羅摩衍辛尼可夫編寫的作品，為陳武康量身改編，並讓
那》影響，與佛教關係密切，神聖而又莊嚴，就他帶回台灣演出；而另一位編舞家Igal Perry則來
連傳承也是謹慎而隆重。箜舞裡每位大師都有自台兩周，特地為驫舞劇場創作一支舞。
己的特殊舞步，必須由大師選擇適合的人選，並
經由國王認可，才能傳承。且傳承時僅有三次機
會，第一次由大師跳，第二次大師帶著跳，第三
次被傳承者跳。三次結束後，不論學成與
否，即完成傳承。
除了震懾於大師在傳統舞蹈上
多年的努力，陳武康也驚覺
許多東南亞的傳統舞蹈正
驫舞劇場以實驗基地出發，致
力探索肢體創作的各種可能。
Horse Dance Theatre is
dedicated to building on a
foundation of experimentation
and exploring the possibilities of
physical expression.

Southeast-Asian styles are disappearing. At the end of movements themselves should have their own emotion,
this year, he plans to revisit each of these masters and their own texture,” Su explains, and working with Dauby
study with them. Seeing how he incorporates elements has helped him focus more on physical interpretation.
of various Southeast-Asian dance traditions into his Back to basics
own works is surely something to look forward to. The rather rotund Su found his figure a frustration
Transnational cultural cultivation when he tried ballet, but since the formation of Horse
Horse Dance Theatre debuted in 2005 with their in- Dance Theatre he has found alternative possibilities
augural performance of M_Dans, a piece incorporating in dance. For example, in the 2013 “FreeSteps” series,
the work of two foreign choreographers. Chen con- he forwent any concern about whether viewers would
tacted his dance instructor in New York looking for a understand, considering himself his primary audience
piece, and choreographer Eliot Feld set about tailoring and working to move himself through his work before
a composition originally written for Mikhail Barysh- presenting it to a wider audience.
nikov to fit Chen, who brought it back to Taiwan to be For those who rarely take in dance performances, they
performed. The other component was a piece written can seem almost impenetrable. Taiwanese audiences, Su
especially for Horse Dance Theatre by choreographer says, generally go into theatrical performances looking
Igal Perry when he visited Taiwan for two weeks. to understand rather than to feel. In actuality, though,
After the troupe’s first performance, word quickly they simply lack the courage to believe what they see.
spread and tickets soon sold out, making their first Audiences, he says, should be encouraged to
venture a success.
They followed this up in 2007 with Velo
city, a collective creation of the troupe,
with each member picking music they
loved. For this, the members were
both choreographers and perform-
ers. Through things like playing
darts or riding bicycles, each mem-
ber presented their idea of what
“velocity” could mean. At one point,
a group reenacted the boisterousness
of a baseball game; at another, the stage
was occupied by a single, silent dancer.
Imaginative and thematically fascinating, Velo
city won recognition for the troupe, including a Per-
forming Arts Award at the 2007 Taishin Arts Awards.
Never interested in repeating themselves and always
eager to try new things, Horse Dance Theatre then sought
out the assistance of French sound artist Yannick Dauby
to contribute to the audio artistry of their performances.
General director of Horse Dance Theatre Su Wei-chia
says that Dauby activated his awareness of the aural
sense, making it easier for him to not get swept away by
the emotions of the music during the creative process. “The
25
陳武康（左）、蘇威嘉
（右）兩人相識20多年，
與香港導演林奕華合作的
《兩男關係》以舞蹈詮釋
彼此深厚的友誼，獲得各
界好評。
Chen Wu-kang (left) and
Su Wei-chia (right) have
known each other for more
than 20 years. In their
collaboration with the Hong
Kong director Edward
Lam entitled 2 Men they
interpreted their friendship
in dance, earning rave
reviews.
在還沒有網路售票的年代，驫舞劇場的創團演釋，創作時更在意舞蹈能有自己說話的能力。
出，憑著口耳相傳，門票很快就銷售一空，讓他
回到創作的本初
們成功地打響第一炮。
接下來2007年的作品《速度》，是由舞團成員身形渾圓的蘇威嘉，一般很難將他與芭蕾舞者
自行挑選喜愛音樂所作的集體創作。成員們既編連結，也曾經讓他在芭蕾舞的路上受挫，但在驫
舞也要演出，以各自的創作互相激盪。透過騎單舞劇場成立後，他透過創作，找到舞蹈的另一種
車、射飛鏢等遊戲，呈現每個人對速度的不同想可能。就像他在2013年開始推出的《自由步》系
像，有一群人作出打擊棒球動作的熱鬧，也有獨列，他已經不那麼在乎觀眾懂不懂，他說自己是
舞的沉靜。題材有趣且充滿想像力，驫舞劇場的創作時的第一個觀眾，他必須在自己的作品裡看
創作潛力讓他們一舉拿下第六屆台新藝術獎的年到感動，才能呈現給大眾。
度表演藝術獎的肯定。對於鮮少欣賞舞蹈表演的觀眾來說，舞蹈總
《速度》集結了大家最愛的音樂後，接下來的是有著看不懂的障礙。蘇威嘉表示，台灣人進劇
音樂該怎麼辦呢？不願重複也不斷尋求更多嘗試場往往都是在尋求理解，而忽略了感受，但其實
的驫舞劇場找來法國聲音藝術家澎葉生（Yannick 大家都可以感受，只是沒有勇氣去相信自己看到
Dauby）促成了與聽覺藝術的合作。的。他也常在演後座談時跟觀眾分享：「你不是
驫舞劇場團長蘇威嘉表示，澎葉生開啟了他對進來念書，而是來寫書的。」鼓勵大家要勇敢表
聽覺的認識，讓聽覺進化，創作時比較不會被音達觀舞的感受，就算不喜歡也是一種感覺，然後
樂的情感給帶著走。以往觀眾容易受配樂影響觀進而去思考為什麼不喜歡，絕對不是「看不懂」
舞情緒，例如原本跳的不怎麼樣的舞，卻因為搭三個字來帶過。
配了煽情的音樂，而牽引了觀眾情緒，誤以為這蘇威嘉表示，舞蹈本來就很抽象，以《半身
是場好的演出。雖然音樂與舞步是相互搭配，但相》為例，陳武康與皮歇•克朗淳都有著紮實的
有時更希望觀眾看到動作的本質，「動作本身要舞蹈基礎與豐富的表演經驗。他鼓勵即便是覺
有自己的七情六慾，有自己的質地存在。」蘇威得抽象看不懂，也能單純欣賞兩位舞者的精湛演
嘉解釋，和澎葉生的合作讓他更聚焦於肢體的詮出。不同國家的舞蹈，對於肢體的運用也有不

express what they feel about performances, even if Building a stage for creativity
that feeling is “I didn’t like it,” and in such cases, they The founding members of Horse Dance Theatre—
should try to think about why they didn’t like it, rather Chen Wu-kang, Su Wei-chia, Chou Shu-yi, Yang Yumin,
than just falling back on “I didn’t get it.” and Chien Hua-bao—were all in their twenties at the
Dance is inherently abstract, says Su. Look at Be Half, time and full of youthful exuberance, but behind it all
for example. Both Chen Wu-kang and Pichet Klunchun there was tremendous stress and pressure that took
have strong foundations in the fundamentals of dance strength of will to push through.
and rich experience as performers. Even if you think the In their first year, they had to borrow a variety of
piece is too abstract and you can’t understand it, you spaces to rehearse. Once they even had an estate agent
can still marvel at the exquisite performances of the two come to check out the space they were practicing in,
dancers. rented by a friend, before the contract was even up. A
Chen also explains that different people will each group of young men all dressed in leggings made for an
come away from the same performance with differing awkward scene, so they quickly improvised, pretend-
interpretations. Each performer can bring in their own ing to be movers and breaking the tension. During that
perspective, and each choreographer has their own way year, Chen recalls, they couldn’t even pay the troupe,
of thinking, so the interpretive possibilities are virtually and so a few of them pooled their money for end-of-
endless. year red envelopes to make up that year’s pay.
驫舞劇場與以色列舞蹈家唐尚文（Shai Tamir）
合作多年，共同演繹許多精彩作品。
Horse Dance Theatre has worked with Israeli choreographer
Shai Tamir for years, producing spectacular works together.
27
神情、樣貌、背景都有些相似的陳武康（左）與皮歇•克朗淳（右），
將在《半身相》裡一起演出他們共同梳理的身體史觀。
Chen Wu-kang (left) and Pichet Klunchun (right), similar in looks as well as backgrounds, have come
together to comb through their collective perspective on physical history in the piece Be Half.
同，「皮歇對手的運作之精緻，就像作工精細的大家向親友借錢，租了房子，買來材料，土法煉
雕塑動了起來。」蘇威嘉說，看著兩人的表演，鋼蓋起排練場。也因為有了第一間排練場，他們
常會看到嘴巴開開、忘記呼吸而屏息。更明白，有一個全天為自己開放的場地對創作者
陳武康也分享，同一支舞，每位觀眾都有各自而言有多重要，能隨時將靈感化為真實，付諸實
的解讀，表演者可以加入自己的角度，編舞者也踐。
能有自己的想法，讓一個肢體的詮釋，充滿無限驫舞劇場從實驗基地出發，至今仍保持充沛
可能。「藝術最珍貴的是有千百種答案，在於自的創作動能，例如每個月一次的「混沌身響」計
己的想法，這樣才是多元的。」蘇威嘉說。畫，就是一場充滿實驗性質的演出。由驫舞劇場
找來舞蹈家，卡到音即興樂團邀請音樂家，雙方
蓋一座創作舞台
在演出當天才見面，在沒有經過排練的狀況下，
驫舞劇場自2004年創團以來，始終以多元的創舞者以身體的本能回應音樂家的演奏，讓即興的
作風格見長。創團的成員陳武康、蘇威嘉、周書肢體與音符擦出各式火花。
毅、楊育鳴、簡華葆，當年二十多歲的他們充滿從2016年推出至今，鋼琴、小提琴、豎笛三重
創作動能，年輕有熱情，即使身旁的師長都勸說奏、電子音效等都可以是音效的形式。前來參與
創團必須背負沉重壓力，會很辛苦，但他們仍毅的舞者也不是單純配合音樂舞動，有時也會利用
然籌立。肢體的拍打、敲擊發出聲響，讓音樂家跟著自己
第一年他們到處借場地排練，還曾在朋友租約的肢體來演奏，這樣少有的演出形式，充滿著意
到期前的排練場練習時，遇到前來看屋的房仲。想不到的驚喜，不論是受邀的舞者或音樂家，甚
一群年輕人明明穿著緊身褲，還隨機應變喬裝成或觀眾都能獲得滿滿創作能量。
工人，假裝在搬家，順利化解了窘境。以當時的十多年來，驫舞劇場與美國、日本、泰國、以
舞蹈環境來說，單純創作並不能養活自己，團員色列等國家的優秀人才合作，推出《半身相》、
們必須不斷跳舞、教課才能維持生活。陳武康至《兩男關係》等作品，為台灣當代舞蹈注入的能
今都記得第一年時舞團沒有辦法支薪，大家湊錢量，也讓他們屢屢在國內外獲獎。不論是跨國
包紅包，權充為第一年的薪水。籍、跨文化，或是不同藝文形式的碰撞，驫舞劇
然而這些草創時期的艱難並不減損他們對舞場用他們心中對舞蹈的狂喜，邀請各界前來共創
蹈的熱愛，他們甚至為了有一個專屬的排練場，歡愉的舞步。 l

Those early difficulties did nothing to dampen their by improvisational group Ka Dao Yin, each meeting for
passion for dance, though. To secure a dedicated re- the first time on the day and without having rehearsed
hearsal space, they borrowed money from friends and beforehand, a show unfolds and sparks fly as the dan
relatives, rented a place, bought materials, and essen- cers let their bodies react instinctively to the music.
tially built a rehearsal area from the ground up. Once Since the first show in 2016, the music has included
they finally had a space of their own, they truly began everything from clarinet trios to electronic effects.
to realize how important it is for a creator to have some- Sometimes the dancers use their bodies to tap and clap
where they can go whenever inspiration strikes and out the beat, setting the rhythm for the musicians; it is
turn their ideas into reality. always a show full of unexpected surprises.
Once a month, Horse Dance Theatre hosts an exper- For over a decade, Horse Dance Theatre has worked
imental performance session called “Primal Chaos.” with talent from around the world—the US, Thailand,
With dancers invited by Horse and musicians invited Israel, and more—to produce pieces like Be Half and 2
Men. Crossing countries, crossing cultures, and combin-
ing art forms, Horse Dance Theatre take their passion
滿懷對舞蹈創作的熱愛，
for dance and let it shine, and they invite all of us to join
驫舞劇場邀請各界前來共譜歡愉的舞步。 with them to create a dance of joy. l
Bursting with passion for dance, Horse Dance Theatre has
invited collaborators from all walks of life to join with them in (Chen Chun-fang/photos courtesy of Horse Dance
creating dances of joy. Theatre/tr. by Geof Aberhart)
29
封面故事
COVER
S TO RY
《浮花》用了台灣民間信仰中流放水燈的意象。（陳長志攝）
Floating Flowers features images of floating lanterns, objects invested with
special meaning in Taiwanese folk beliefs. (photo by Chen Chang-chih)

讓世界驚豔的
創作能量
．丞舞製作團隊──蔡博丞．
Tsai Po-cheng,
Millennial Master of
Choreography
文•陳亮君　圖•丞舞製作團隊提供
版面設計•胡如瑜
蔡博丞2014年以《浮花》勇奪德國漢諾威國際
編舞大賽之「德國高堤耶舞團斯圖加特劇院製
作獎」與「觀眾票選獎」，成為唯一囊括兩項
大獎之得獎者；2015年另以《Hugin／Munin》
奪下「紐約暨布爾戈斯國際編舞大賽首獎」及
「丹麥哥本哈根國際編舞大賽金獎」；2017年
則以《INNERMOST》拿下「瑞士伯恩舞蹈平
台首獎」。蔡博丞以極限的肢體美學，融合東
西方的舞蹈語彙，細膩且蘊涵深遠，也征服了
許許多多人的心。
I n 2014, when Tsai Po-cheng’s Floating Flow-

ers won the Audience Award and the Gauthier
Dance/Stuttgart Theater Production Award at the
International Competition for Choreographers Han
over, he became the only dancer to have come away
with both big prizes at the event. In 2015 Tsai’s
newly created work Hugin/Munin won the Burgos
& New York International Choreog raphy Compe-
tition and the Tanz Luzerner Theater Production
周懿文攝／photo by Chou Yi-wen
31
一個私底下單純、不多話的大男孩，展現出支舞的講解，差不多也要10點多才會結束，老師
令世界驚豔的創作能量，讓我們跟著蔡博丞的腳再提醒：「來，去把剛剛所有表演的衣服洗完、
步，一步步踏入舞蹈創作的世界。晾起來，地掃完了才能回家。」這時很多家長都
在外面接孩子下課，蔡博丞提到在當時不會有任
潛移默化的累積
何的爸爸媽媽有怨言，反而還會跟老師說：「謝
「從小就是書在看我，不是我在看書。」小謝老師，老師辛苦了！」而這些舞蹈班所學到的
時候的蔡博丞聰明機靈，但就是對學校課業不感觀念與紀律，在無形中已融入到他的生活當中。
興趣。蔡媽媽為了讓好動的他發揮精力，在他小
海外留學經驗
學5、6年級時送他去舞蹈班，蔡爸爸一開始覺得
奇怪，因為當時沒什麼男生在跳舞，尤其是在南高三時有個畢業創作展，學校老師會邀請一
部，可是蔡媽媽卻發現，跳舞時的蔡博丞，眼神些評審，選出優秀的作品並頒發獎金。蔡博丞當
是開心且發亮的。時編了一支舞叫《自畫像》，這是一個群舞的作
上了國中，舞蹈社的老師看他肢體的律動感非品，反映出每個人自我的個性，這作品不但獲得
常好，就問他要不要來試試，「當時國中舞蹈社評審的青睞，也讓他提早體驗「編舞者」跟「舞
有跳流行舞、民俗舞、街舞，還有舞龍舞獅。」者」之間的角色轉換，對他來說這是個很難得的
因為學校社團常出去比賽，讓他有機會請公假，學習經驗。高中要畢業時，學校老師還特地叫他
為校爭光。要說蔡博丞一路走來的舞蹈之路，家進辦公室，鼓勵他說：「你非常有編舞的天分，
人算是引他入這行的敲門磚，而真正讓他有系統你要繼續做這件事情。」
地學習舞蹈，要從進入左營高中舞蹈班開始。後來蔡博丞進入臺北藝術大學舞蹈學系就讀，
「我們進舞蹈班的第一天，全部的人就是制大二那一年在高雄有一個「城市芭蕾舞團」，邀請
服、白襪、皮鞋，女生去學校只能綁馬尾、黑色
髮帶，男生頭髮一定要剪很短。」蔡博丞回憶起
左營高中舞蹈班的歲月，服裝儀容是最基本的要
求，也教導男女學生肢體接觸的正確觀念，以及
對於時間的掌控，「我們高中開學時一定要坐在
一個自修教室，老師會規定每個人都要拿一本年
曆筆記本，把每個月的待辦事項記錄下來。」蔡
博丞提到高中三年養成一個非常好的習慣，就是
對於時間上的控制，因為在一場演出的背後，是
許多的紀律與訓練所累積的成果。
從早上7點半到晚上10點，上午是學科的學
習，下午則有術科的練習，接著還要排舞，到自
修教室讀書等，有時還要彩排，彩排後一支舞一
Award at the Copenhagen International Choreo In junior high school, the faculty advisor to the dance
graphy Competition. Then in 2017 Innermost won a team saw that Tsai had an excellent sense of rhythm and
Berner Tanzpreis choreography award at the Tanz- invited him to join. “The junior-high dance team per-
platform Bern festival. Tsai’s choreography pushes formed popular dancing, folk dancing, street dancing
the aesthetic envelope by mixing in dance vocabulary and lion dancing.” Because the team often went out to
from both Eastern and Western dance traditions. Del- compete, it gave Tsai an excuse to be away from school
icate and profound, it has earned kudos far and wide. while still competing in its name. It’s fair to say that
Tsai’s family first pushed him down the path toward
This soft-spoken young man has demonstrated a cre- becoming a dancer, but his first systematic study of the
ative capacity that has amazed the world. Let’s follow art occurred in the Dance Division at Tsoying Senior
in his footsteps to enter the world of dance creation. High School in Kaohsiung.
Portrait of the dancer as a young man Tsai recalls that in the dance program at Tsoying,
Tsai was a clever child, but he wasn’t interested in there were basic demands made about grooming and
schoolwork. He was constantly moving, so when he clothes, and boys and girls were taught a proper concep-
was in fifth or sixth grade his mother enrolled him in a tion of physical contact. They also learned how to make
dance class to help him burn off energy. She discovered best use of their time. They were at school from 7:30 a.m.
that when he was dancing, he was happy and his eyes to 10 p.m. Mornings were reserved for their academic
brightened. classes, and the afternoons were for training in the arts,
團員間彼此的尊重與信任，是在許多小細節中
慢慢地被建立起來。（林旻萱攝）
The trust and mutual respect between dance
company members is slowly built from many small
moments and details. (photo by Lin Min-hsuan)
33
他去幫一個叫「點子鞋」的芭蕾創作平台編舞，來完成，如此也拉近了與歐洲觀眾的距離，讓東
「我覺得我那時在累積一些能量，現在回去看或許方文化不再那麼遙不可及。
不是那麼的純熟，但也因為那時放得夠多，所以我另一個作品《Hugin／Munin》，裡面有兩隻烏
現在創作時就會知道，什麼東西該收。」鴉，是戰神奧丁的寵物，一隻代表記憶，另一隻
蔡博丞在北藝大求學的期間，還兼任校外的教代表思維。牠們會出去竊聽很多人的事情，等到
學與編舞，曾經最多一個星期可以排到15堂在外戰神奧丁要開會處決這個人的時候，這兩隻烏鴉
的教學課程，「我那時什麼課都接，這要歸功於會跟他打小報告說：他這個人其實怎麼樣、他不
我從小在舞蹈社團接觸到了爵士、流行舞、民俗是好人，再結合一些東方武術對打的成分進去，
舞等各式各樣的舞蹈。」而這些從小累積在身體「我用北歐神話為主軸，但是我把北歐神話變成
裡的資糧，逐漸轉化成各種教學與創作的能量。黃飛鴻跟李小龍對打。」蔡博丞提到這靈感來自
而促使他的創作更進一步發揮的，則要屬在大三一部日本電影《惡之教典》，是講暴力美學與反
上學期那年學校的交換學生計畫。社會人格的劇情。也就是用西方的意象概念，但
當時北藝大與文化部合作，讓校內優秀學生
有機會能至國外學校交流，蔡博丞就在那時去
了紐約州立大學帕切斯分校（Purchase College）《Hugin／Munin》裡兩隻烏鴉，是戰神奧丁的寵物，
一隻代表記憶，另一隻代表思維。（周懿文攝）
當交換學生，「因為我們去那邊只要上術科， The two eponymous ravens in Hugin/Munin are pets of Odin,
the God of War. One represents memory and the other thinking.
剩下的時間很多，而我跟另一好友很瘋跳舞，像 (photo by Chou Yi-wen)
百老匯的劇啊、爵士舞啊，所以每天都衝去外面
上課。」在學校以外的時間，蔡博丞就去紐約的
百老匯舞蹈中心，在那接觸到街舞、芭蕾、現代
舞、爵士舞……等，也在國外看了很多表演、美
術館、博物館，這些東西都成為了他日後創作的
寶貴經驗與養分。
在紐約的經驗，開拓了他的心胸，讓他體認到
做藝術不能畫地自限，「你必須要open mind，必
須要接收很多，即便你不喜歡，也可以觀賞，在
不喜歡的東西當中或許也有東西是值得你去借鏡
的。」對於蔡博丞來說，一個藝術家對於生活的
感受是很重要的，為什麼要聽這個音樂？為什麼
喜歡看這些雜誌、電影？在生活中的每一次邂逅
都帶給他不同的感受與刺激，當別人還在為不知
該如何自處而煩惱時，他早已轉化成下一次演出
的創作能量。
台灣創作揚威國際
「我第一個作品是《浮花》，是雙人舞，那時
我用了台灣民間信仰中流放水燈的意象，但是在
身體的實質面跟音樂的選用上則用非常西方的方
式。」蔡博丞說。《浮花》裡的服裝其實是婚紗
裙裡面的襯裙，音樂則是一位加拿大作曲家所編
的曲，也就是用東方的概念，以西方的詮釋方式

followed by dance team training, study hall and so forth.
Sometimes they’d stay late for dress rehearsals. After
the step-by-step explanations of the choreography, it
would be ten or so before they called it a day. The
values and discipline instilled have seeped into
the very way he has lived his life ever since.
Studying overseas
For the graduation show in his
senior year of high school, Tsai
choreog raphed a dance he
called Self Portraits. It was
a group dance that re-
flected each dancer’s
individual personality.
The work not only found
favor with the judges, but also
gave him early experience with 蔡博丞
the different roles of choreog rapher 在法國La
Ferme du
and dancer, as well as the interchange be- Buisson巡演時
tween them. It was a valuable experience. 的劇院人潮。
The audience at La
Tsai then entered the dance program at Tai Ferme du Buisson, near
pei National University of the Arts. In his sopho- Paris, France, when Tsai
performed there on tour.
more year, the Kaoh siung City Ballet invited him to
help choreograph a dance for its annual “Dance Shoes”
program. “Looking back at it, it may not have been the
most mature work, but it’s only because I put things out
there back then that I know today what will work.” Raising Taiwan’s creative profile
TNUA and the Ministry of Culture were providing “My first work, for two dancers, was Floating Flow-
funding for outstanding students to go on exchanges at ers,” notes Tsai. “I drew from the symbolic meaning
educational institutions overseas, and Tsai took advan- given to floating lanterns in Taiwan folk beliefs and
tage of the opportunity to study at the State University matched them with choreography and musical accom-
of New York at Purchase. In his spare time at Purchase, paniment that were very Western in style.” For costumes
Tsai would visit the Broadway Dance Center in New he used petticoats from Western-style wedding dresses,
York City, where he gained deeper exposure to street and he chose music by a Canadian composer. The work
dancing, ballet, modern dance, jazz dance and so forth. therefore took Eastern ideas and explained them using
While he was overseas, he also attended many arts Western methods. It pulled European audiences closer,
performances and visited many museums. Those rich allowing Eastern culture not to seem quite so distant.
experiences nourished his creativity. Another work of his, Hugin/Munin, features two
His time in New York opened his mind, awakening ravens that are pets of Odin, the God of War. One sym-
him to the importance of not “painting by the num- bolizes memory and the other thinking. They fly out
bers” when creating art. And the chance encounters he to eavesdrop, discovering much about the population.
had in everyday life also offered lessons and stimula- When Odin meets with people or prepares to inflict
tion of a different kind. When others were still worry- punishment, the ravens report to him about the people
ing about what directions they wanted to take in their concerned. For this dance, Tsai integrated some choreo
lives, he was focusing his creative energies on his next graphy inspired by Eastern martial arts. Thus the work
performance. is Western in conception and inspiration, but it uses
35
丞舞製作團隊邀請法國Antonin Comestaz來台授課。（趙奕睿攝）
The B.Dance company invited the French choreographer Antonin Comestaz to come to
Taiwan to teach. (photo by Ray Chao)
用東方的詮釋方式來完成，讓外國人看起來會覺
關照團員各個面向
得很有趣。
蔡博丞提到當時用這支舞《Hugin／Munin》去丞舞舞者張堅志與蔡博丞是從高中到大學的同
丹麥比賽，有一個觀眾提問：「為什麼我們北歐班同學，不過真正有較密切的合作，是在2014年
的神話故事，居然是由一個亞洲的編舞家來編給《浮花》的合作演出。丞舞經理許慈茵說：「我
我看，而不是我們自己北歐的編舞家去找到這個覺得很妙的是，堅志跟博丞一起工作以後，博丞
概念？」這個問題很有趣，當台灣正在提倡要有慢慢地引出了堅志另外一面的個性，反過來堅志
國際觀的同時，蔡博丞透過編舞，已悄悄牽起東也丟了很多回饋在他們的編舞過程當中。」兩人
西方文化的共鳴與交流。合作的默契也就是建立在彼此的信任之上。
此外，蔡博丞的另一舞作《INNERMOST》，另一位團員張瑀，從小還蠻隱藏自己的個性，
則用了西方「混沌宇宙」跟東方「本無」概念的也不太會表現出自我深層的樣子，有一次彩排時，
結合。紅色棍子代表時間軸，就像是時針跟秒針蔡博丞對著她說：「好，我們關燈。」其實就是試
的概念，但在時間軸裡要找到零是很難的，因為圖要引導出張瑀內心深層的一面，那次她整個崩潰
時間會一直流動，所以蔡博丞又去找了兩個人，大哭，「我不知道為什麼，但當我的情緒發洩出來
他們倆個其實是代表同一個人，於是就形成時後，就更能把情感發揮在舞蹈上了。」張瑀述說著
間、空間與自己的關係，當時空跟你自己合而為那次的深刻體驗，是她舞蹈生涯中的大突破，而這
一的時候，那個「無」就存在在那裡了，也就也是以往學校舞蹈班教育無法給她的東西，因為
是找到了內心的平靜，後來這部作品被丹麥《政這必須要有一個觀察敏銳且細心的人帶領才行。
治家報》評為：「兩位舞者與紅色棍棒之間的對而且，蔡博丞從來不會給她一個質疑的眼神
決，作品好得令人驚訝，獲得滿堂喝采！」或是句子，就是說：「很好，我覺得很好。」這

Eastern methods of choreographic explication. Foreign yin says, “I feel it’s marvelous that after Chien-chih and
audiences find it quite captivating. Po-cheng started to work together, Po-cheng gradually
What’s more, Tsai’s Innermost again blends East and drew out another side of Chien-chih’s personality. In re-
West by drawing from the idea of “chaosmos” (James turn, Chien-chih gives him a lot of feedback during the
Joyce’s portmanteau of “chaos” and “cosmos”) and the process of creating and refining the choreography.”
Buddhist concept of “void.” The red stick in it represents Dancer C hang Yu, another B.Dance member, hid
the axis of time and suggests the hour, minute or second much of her personality as a child, unwilling to ex-
hands on a clock. But because time continuously flows, pose her inner self. Once, during a dress rehearsal, Tsai
it is difficult to find zero on its axis. So Tsai also employs wanted to uncover deeper levels of her psyche, so he
two dancers, who in fact are different facets of the same said, “OK, let’s turn off the lights.” She collapsed in
person—representing the deep connections made when tears: “I don’t know why, but after my feelings were
time and space completely merge with the self, such that exposed I became better able to bring my emotions to
the “void” comes into being and one can find true inner dance.” Chang describes the epiphany she had then as
peace. The Danish newspaper Politiken praised it thus: being one of the major turning points in her career as a
“The evening’s most surprising feature, which scored dancer. And it was something that dance programs in
the biggest applause, [was] a duel between two men and educational institutions couldn’t give her, because the
a red stick, created by Taiwanese Po-Cheng Tsai.”
Concern for each member of his ensemble
Chang Chien-chih, a dancer in Tsai’s B.Dance com-
pany, was a classmate of Tsai’s in high school and col- 《Niflheim》蔡博丞將東方元素帶入西方神話當中。
（Gregory Batadon攝）
lege. But they didn’t start collaborating closely until
In Niflheim, Tsai brings Eastern elements to Western
2014’s Floating Flowers. B.Dance’s manager Hsu Tzu- mythology. (photo by Gregory Batadon)
37
蔡博丞透過編舞，已悄悄牽起
東西方文化的共鳴與交流。
Through choreography, Tsai Po-
cheng quietly fosters exchange
and creates resonance between
Western and Eastern cultures.
（右下圖）《INNERMOST》
用了西方「混沌宇宙」跟
東方「本無」概念的結合。
（周懿文攝）
(facing page) Innermost mixes
the concept of “chaosmos” with
the Buddhist concept of the
“void,” as Tsai once again blends
Western and Eastern elements.
(photo by Chou Yi-wen)
就是信任的一種展現。丞舞舞者黃依涵補充說：
將國際舞者引進台灣
「我們每一個作品裡面都會有一些solo的片段，
在跳慢板的時候，我是比較平靜帶有點神秘的感蔡博丞在世界各地巡演的過程中，會發現許
覺，然後到快板時就可以讓我把那不安定又很衝多不同世代的編舞家，也會邀請他們來台分享彼
的個性表達出來，所以我覺得博丞給了舞者很多此的經驗，目前已邀請來自法國、義大利、以色
的空間去嘗試與突破，合作起來也很舒服。」列、阿根廷、西班牙……等國家的一流舞者與編
說起實際的排舞過程，張堅志提到蔡博丞總是舞者來台授課，讓台灣的學子知道目前世界上的
自己先準備好，才號召大家來排練，「我們舞者趨勢在哪裡，這些知名舞者在做什麼，他們的體
到排練場之後，原本call排講好是3個小時，但通態長什麼樣子，以及在藝術創作的高度在哪裡，
常1.5個小時就排練結束。」在張堅志舞者生涯所之後出社會才不會跟世界脫節或有所落差。
遇到的編舞者，事實上每次的排練都需要5、6個此外，丞舞製作團隊預計在今年會開啟一項
小時，但是蔡博丞總是能用最精簡的時間，完成全新的系列計畫「B.PLAN國際共製計畫」，共
高難度的舞作，這需要有高度的編排掌握度，以計3年，每年依序邀請一位在國際知名且具份量
及對每位舞者細膩的觀察能力才辦得到。的編舞家，來台替丞舞的舞者創作新作品，作
此外，丞舞製作團隊只要到外面巡演，對於舞者品長度約30∼40分鐘，並與蔡博丞的作品併台
的照顧是團員們所感受於心的，張堅志說：「我之演出。首位邀請的特約藝術家是來自西班牙L A
前跟別的劇團去演出時，有住過很陽春的，床很不 VERONAL的舞團總監Marcos Morau，蔡博丞與
舒服，然後熱水還是那種要按著才有水，所以要一 M a r c o s也會一起從彼此的舞團中挑選出最合適
邊靠著才能洗熱水澡。」可是在丞舞，只要出去巡的舞者，在舞台上呈現蔡博丞的作品，並且演
演，不論吃的、住的，舞團都會安排妥當，因為蔡繹M a r c o s獨特的舞蹈風格。透過兩位同樣來自
博丞希望讓來到丞舞的舞者都能專心跳舞，所以要千禧世代編舞家的眼睛，讓我們看見兩國的創
提供他們最好的支援與後盾，而團員間彼此的尊重意火花與結合，除了是非常大的挑戰外，也讓
與信任，也就在這些小細節中慢慢地被建立起來。舞迷萬般期待。 l

breakthrough required someone with acute sensitivity scheduled for three hours usually can be handled in an
and observational powers to help her achieve it. hour and a half.” Tsai is always able to make the most
“Each of our works has some solos,” notes B.Dance efficient use of his time when preparing to perform
uang I-han. “During the adagio combinations,
dancer H dances with high degrees of difficulty—a skill that
I’m more relaxed, conveying a sense of mystery, and requires both a mastery of the choreography and an ex-
then during the allegro segments I can let out the more cellent ability to observe each dancer closely.
edgy and impetuous side of me. I feel that Po-c heng And when B.Dance goes on tour, the company
gives dancers a lot of space to try things and make per- provides for the dancers’ accommodation and meals
sonal breakthroughs. It’s a comfortable collaboration.” better than most, because Tsai wants dancers to focus
Describing the rehearsal process, Chang Chien-chih on dancing. The company thus aims to offer all the
notes that Tsai always prepares himself well before call- behind-the-scenes support it can. Trust and mutual
ing everyone in to practice. “After we dancers arrive respect among company members is slowly built from
at the practice space, the rehearsal that was originally these small details.
Inviting international dancers
When Tsai tours abroad, he discov-
ers choreographers of different genera
tions and invites them to T
aiwan to
share their experiences. So far, he has
extended invitations to top dancers
and choreographers from France, Italy,
Israel, Argentina and Spain. Their vis-
its allow students of dance in Taiwan
to understand international dance
trends and the highest levels of the art.
In that way, when they found compa-
nies of their own, they won’t fall short
of international standards.
Additionally, B.Dance plans to
launch the internationally oriented
B.Plan Collaboration this year. For the
inaugural program Marcos Morau,
founder and artistic director of the
Spanish dance company La Veronal,
has been invited to Taiwan. Morau
and Tsai will pick the most suitable
dancers from the two comp anies to
perform works by Tsai in the unique
style of Morau. Both are millennials,
and their collaboration will allow
audiences here to see a blending of
youthful creativity from two different
nations. It’s a daunting challenge, and
one that dance aficionados are eagerly
awaiting. l
(Ivan Chen/photos courtesy of
B. Dance/tr. by Jonathan Barnard)
39
封面故事
COVER
S TO RY
借鏡德國‧回流台灣
跨國共製 ─ 聚合舞
Identity Reflected in a Distant Land

—The German–Taiwanese Dance
Production Unsolved
文•蘇俐穎　圖•聚合舞提供　版面設計•蕭郢岑
德國小說家鈞特．葛拉斯（Günter Grass）說：「回
憶就像一顆要剝皮的洋蔥。洋蔥皮層層疊疊，剝掉又
重生；如果用切的，洋蔥會讓你流眼淚，只有剝掉
它，洋蔥才會吐真言。」
台灣到德國，地理位置相隔8,000公里以上，受到藝
術感召的羅芳芸與陳成婷，各自在多年以前，選擇遠
赴異鄉。走過求學到工作的不同階段，如今，融合台
灣身分與德國經驗的她們，以最富直覺的舞蹈形式，
探究旅外以來，倍感深刻的身分認同議題，推出舞作
《Unsolved》。這是累積多年創作能量的一次性噴發，
也是作為藝術家最嚴厲的自我詰問，更是對於故鄉台
灣難掩熱情的一場反省之旅。
Y ears ago artistic inspiration prompted both Lo Fang-

yun and Chen C
heng-ting to travel more than 8000
kilometers from Taiwan to Germany. Having studied and
worked there, they have combined their Taiwanese roots
and German training in a new dance production called
Unsolved, which explores profound questions of identity
that were sharpened by their experiences abroad. The
production is the result of years of creative experience and
represents the artists’ journey of self-inquiry. It is also an
irrepressibly passionate examination of Taiwanese identity.

張震洲攝 photo by Zhang Zhenzhou
41
羅芳芸（左）耕耘歐洲
藝術圈已久，時常與各
國藝術家合作，文化交
流自然地發生。（Tanya
Hofmann攝）
Her extensive involvement
with European performing
arts circles has resulted
in frequent collaborations
between Lo Fang-yun (left)
and European artists, and
frequent opportunities for
cultural exchange. (photo by
Tanya Hofmann)
一幢真實存在、已經人去樓空的廢棄宅邸，就像「聚合舞」（Polymer DMT）的來由，源

滿布著老舊家具、生活什物，這間猶如凍結在某於「聚合物」（Polymer）的諧音，意味著匯聚不
個時間點的屋宇，象徵著大家族的親族之間，產同專業領域、文化背景的人；在《Unsolved》這
權繼承因立場相互扞格，問題盤根錯節、難以解部作品裡，身兼藝術總監與編舞家的羅芳芸，與
決，這樣的光景，竟也與台灣當前錯綜複雜、難劇場空間設計師陳成婷，以其同樣來自台灣，並
以一語道盡的政治處境，遙相呼應。長年在德國表演藝術領域工作的相似背景，加上
這樣微妙的巧合，成為羅芳芸創作的起點。14 都有著強烈的身分認同，透過兩人密集的交流、
年前，當她初抵德國，作為一個來自遙遠島國的激盪，支撐起整部作品的核心概念。
異鄉人，往往需要耗費大量心力，去向外國人解雖然羅芳芸與陳成婷同樣是旅德的台籍表演藝
釋，自己是誰？從哪裡來？因此，她開始對自己術家，但兩人直到2016年才正式結識，這是因為
的身分投以關注，同時察覺到家族與國族之間，從福克旺藝術大學畢業的羅芳芸，一直以大學所
同樣處於僵局的巧妙呼應。在的埃森為基地，默默耕耘，陳成婷則畢業自柏
通過表演藝術家的眼睛，她從個人經驗出發，林工業大學舞台與空間設計研究所，長年居住在
演繹成一齣微言大義的舞蹈劇場。這齣饒富人文柏林，地理上一東一西，距離遙遠。
思索的作品，展現出她在以人文主義著稱的歐洲但，兩人在各自的城市，透過一個一個的專案
所受的鍛鍊成果，她試圖藉此探究各種衝突、矛合作，一方面熟悉業界生態，二方面累積工作經
盾的來由，同時回應「我是誰」的大哉問。這部驗、儲備創作能量，同時探索作為一名表演藝術
環繞著「身分認同」議題的作品，羅芳芸將之命家，自己的能耐所在，以及對於劇場的期待。直
名為《Unsolved》（未解，懸）。到上一個合作案：親子舞蹈劇場《盧西歐》，羅
芳芸在網路上徵求舞台設計，陳成婷前往應徵，
際遇合流，共譜新作
兩人匯流，就此一拍即合。
預計在今年9月於德國埃森（Essen）首演，11 回憶一路走來的軌跡，陳成婷說：「之前，
月移師台灣演出的《Unsolved》，將會是舞蹈劇我們跟別人合作，幫別人的作品創作，這其中有
場「身份」系列的首部曲。很多事情都必須一一去經歷，最後才能回到原

A long-abandoned ancestral home is crowded with old many 14 years ago, she was a stranger from a distant is-
furniture and strewn with objects of daily life, as if frozen land nation with a complicated history and political sit-
in time. It stands vacant due to an unresolved inheritance uation. She spent a good deal of time and effort trying
dispute and serves as a metaphor both for the thorny to explain who she was and where she came from. As a
relations of a large family with competing claims on the result, she began to think more about her own identity,
family legacy and for Taiwan’s current political situation, and discovered a remarkable similarity between the
rife with complexity and difficult to explain. insuperable problems within her own family and the
Meditating on this symbolic connection helped launch difficulties facing her country.
Lo Fang-yun’s artistic journey. When she arrived in Ger- Taking her own experience as a starting point, she
used her artistic vision to create a dance composition
both profound and sublime. The work reflects the hu-
manism that shaped her intellectual development in
歐洲劇場展現的人文思維與美學，與美國劇場的商業化截然
不同，是吸引陳成婷赴德的主因。 Europe. In the performance, she explores the origins of
Chen Cheng-ting was drawn to the aesthetics and humanistic various conflicts and contradictions while trying to an-
approach of the performing arts in Germany, which can be
contrasted with the commercialism of American theater. swer the profound question, “Who am I?” For the title
拉風影像提供 courtesy of Lafun Photography
43
點，了解自己到底想說什麼樣的話，
想做什麼樣的創作。」她表示：「認
識芳芸以後，才發現我們過去有類似
的作品，也想說類似的話，那麼現在
匯流，可以來做我們的作品了。」一
番話裡，還透出了一股惺惺相惜的情
感。
跨域交流，跨國共製
除了合作創作的主題，選擇從兩
人都關注的身分認同議題展開，在執
行層面上，也裡應外合採台灣、德國
跨國共同製作的方式進行。關於這
點，對羅芳芸來說，可謂再理所當然
不過了。她說：「當我們討論身分，
首先會回頭檢視、回溯自己的經歷，
所以在首部曲中，會先把場景拉回到
成長的台灣。」她強調，「以我們的
身分，不可能在德國做關於身分、成
長的東西，因此，非得在台灣進行不
可。」
因此，除了向德國獨立劇院P a c t
Zollverein尋求資源，彼時，恰好遇上
國家文化藝術基金會推動「表演藝術
國際發展專案」補助計畫，就此順水
推舟，結合起兩國的資源。除了由國
藝會、Pact各自給予經費、場館、技
術人員等各方面的支援，作品也會在
台德兩地上演，故此，團隊密集往返
兩國之間，進行田野考察、排練。
而就像羅芳芸與陳成婷，因為旅
外，反而有機會站在不同的視角，廓
清自己的面貌。這部作品的工作團
隊，台籍與外國籍比例約1：1，包含
羅芳芸、陳成婷，以及台灣舞者鍾志
文、德國影像設計師Hanna Linn Ernst、
瑞士音樂家Patrik Zosso等人，陳成婷
說：「劇場是一講求共感的地方。」
《Unsolved》執行期間，
不同背景的藝術家，藉由專業知識與團隊成員親赴台灣作田野考察。
生命經驗的互相分享、激盪，為議題 During the production of Unsolved,
the performers took fieldtrips to Taiwan.
開展出更多維的思索，讓一部源於羅

of the piece, which focuses on the question of identity, Lo theater production for children, Lo placed an ad on the
chose Unsolved. Internet, and when Chen answered the two immedi-
A serendipitous meeting ately hit it off.
Unsolved is slated to open in September in Essen, Ger- “When I met Fang-yun, I discovered that we had
many, and then move to Taiwan in November. It is in- worked on similar performances in the past and wanted
tended to be the first of a series investigating questions of to say similar things through our work,” Chen says. “As
identity. a team we can now put that into practice.”
Lo chose the name Polymer DMT for her collaborative Dance without borders
dance endeavor because juhewu, the Chinese for “poly- In addition to the central theme of their collabora-
mer,” sounds the same as three characters that mean “col- tion in Unsolved, Lo and Chen have decided to focus
laborative dance performance.” It also captures the idea of on an exploration of identity. The production itself will
different parts working together, or in this case the combi- be a transnational affair with performances in Taiwan
nation of people with different professional specialties and and Germany. For Lo this seemed like a natural choice.
different cultural backgrounds. Unsolved is the result of “When we talk about identity we first turn to our own
close collaboration between Lo, who serves as both stage experiences,” she says, “so for our first production we
director and choreographer, and Chen C
heng-ting, who used Taiwan as the setting.”
serves as set designer. Both are from Taiwan and both are “Given our identities, we couldn’t explore the ques-
veterans of Germany’s performing arts world. Moreover tion of identity and development in a German setting,”
the duo shares a strong sense of Taiwanese identity. Lo emphasizes. “We had to return to our roots.”
They first got to know each other in 2016. Earlier they Unsolved had the good fortune of receiving financial
had each worked on various projects that had allowed support both from the international arts venue Pact
them to become familiar with the performing arts world Zollverein in Essen, and from the National Culture and
in Europe and to gain experience and develop their Arts Foundation Taiwan in the form of a Performing
creative aptitudes, as well as exploring their respective Arts Abroad grant, intended to promote the interna-
strengths in the performing arts and their expectations for tional development of Taiwan’s performing arts. Be-
the theater. In search of a set designer for Luceo, a dance yond this financial support, the production also gained
45
芳芸個人經驗的事件，發展成有深度，且兼具普世有效鼓勵創作以外，還可確保作品本身與當地文
價值的藝術作品，而兩人念茲在茲，關於「身分認化的關聯性，陳成婷特別說明，好比早年兩廳院
同」的議題，也在這樣鍥而不捨的檢視中，如洋蔥的表演，多是由國外直接買節目進來，但表演工
層層疊疊地剝開，直探真相。作者、觀眾能看到什麼、得到什麼，往往見仁見
智。她說：「當有越來越多藝術家在國外生活，
劇院協力，開展對話脈絡
開始了解到不同文化背景創作的脈絡，我們也在
除了藉由作品探討身分認同的議題，作為一名尋找自己的創作命題與脈絡，以及其中的對話內
表演藝術工作者，長期都在德國表演藝術領域耕容；所謂的共製，就是有對話。」
耘，羅芳芸也冀望，藉由這次台德共製的機會，而羅芳芸融合台德（歐）兩地的特質，特別受
可以傳承德國相較完善的業界制度與合作經驗，到Pact Zollverein藝術總監Stefan Hilterhaus的賞
作為台灣借鏡的他山之石。識，他評價道：「羅芳芸的作品受西方與亞洲文
好比，如今在劇院林立的德國，中小型的表演化的啟發，在許多層面上，融合、展現出不同的
團隊百家爭鳴，由劇院主動邀請獨立藝術家╱表背景、論述與概念。」、「她的作品融合了不同
演團隊進駐場館，以共同製作的形式，從創作到的媒材與媒介，並且具有吸引我的原創性。」因
公演，給予各種資源的支援，則是主要趨勢。此，羅芳芸從求學時期，因地緣之便，就時常到
這種類似台灣駐村藝術家的合作模式，除了可此觀賞演出，2014∼2016年間，先由個人名義駐
Pact Zollverein不僅是表演場館，更是藝術交流與創意發生
的平台。（Pact Zollverein提供，Dirk Rose攝）
Pact Zollverein is a performing arts space and a platform for
artistic exchange and creative exploration. (photo by Dirk Rose,
courtesy of Pact Zollverein)

access to performance spaces and technical personnel.
Because the piece will be performed in both countries,
the staff has been able to travel back and forth for field-
work and rehearsals.
Just as studying abroad gave Luo and Chen the op-
portunity to see things from a different perspective, the
production company is bringing layers of complexity to
the subject matter through the diversity of professional
knowledge and personal experiences. Aside from Lo and
Chen, the company includes Taiwanese dancer C
hung
Chih-wen, German video designer Hanna Linn
Ernst, and Swiss musician Patrik Zosso, among
others. They have been able to add a broader
significance to Lo’s personal experience, trans-
forming it into a work of universal artistic
value that examines the complex nature of
identity like peeling away the layers of an
onion, moving toward the truth at the center.
Theater creating dialogue
Aside from exploring identity issues, Lo hopes
that this coproduction with Germany can provide
Taiwan with a useful model and that the more advanced
professional practices of German performing arts will
rub off on Taiwan’s performing arts circles.
In Germany’s numerous theaters, small and medium-
sized troupes are constantly innovating. Seeking out in-
dependent artists and troupes to perform in coproduc-
tions and supporting them from creation to production
has become a trend in theater circles.
This approach, which is similar to many of Taiwan’s
artist-in-residence programs, can effectively encourage
creativity and ensure that artistic creations are closely
connected to local culture. In the past Taiwan’s National
Theater and Concert Hall often booked foreign produc-
tions that were presented just as they had been in their
home countries, leaving both the performers and the
audience wondering about the relevance to local culture.
“Now that more artists live abroad, they have begun to 《盧西歐》結合2017年台北兒童藝術節與Pact Zollverein
understand how creative work is informed by different 兩方提供的資金，是聚合舞第一部台德共製的作品。
（Tanya Hofmann攝）
cultural backgrounds,” Chen says. “As we explore the Polymer DMT’s first German–Taiwanese coproduction was
themes and context of our own creative endeavors and Luceo, a children’s dance performance, which received financial
support from the 2017 Taipei Children’s Arts Festival and Pact
the conversations we want to have, coproductions help Zollverein. (photo by Tanya Hofmann)
create that dialogue.”
Stefan Hilterhaus, artistic director at Pact Zollverein,
is particularly fond of Lo’s ability to synthesize elements
47
德國劇院Pact Zollverein藝
術總監Stefan Hilterhaus是
劇院創立的元老。（Pact
Zollverein提供，Julia
Reschucha攝）
Stefan Hilterhaus, artistic
director at Pact Zollverein,
helped found the German
performing arts space.
(photo by Julia Reschucha,
courtesy of Pact Zollverein)
館，2017年開始，以表演團隊的規模直接與劇院羅芳芸直率地指出：「台灣藝術圈往往營造出
合作共製，如今，Pact Zollverein已是她相當重要一種氣氛，讓藝術家覺得，需要為作品犧牲，就算
的協力夥伴。背債也沒有關係，但這往往已經超出現實狀況。
而德國經驗、知識都告訴我們，這是我們的職業，
從台灣出發，為台灣而作
要讓作品完成，就要讓藝術家拿到應得的酬勞。當
羅芳芸說，德國就像一個開放的盆子，以兼然，這需要很多的努力，也可以藉此監督領導人負
容並蓄的態度，歡迎所有的外國人到此求學、工起責任。」陳成婷也語帶沉重地說：「如果真要比
作，除了在教育政策上採免學費的政策，還有可較台德之間的差異，就是在德國從事表演藝術工
申請找工作簽證，加上極具競爭優勢的產業與廣作，是不需要自我懷疑，也不需要別人來懷疑你，
大的市場，種種因素，都是吸引她們至今仍留下但在台灣卻需要主動爭取別人的認同，這件事光在
來的原因。起跑點上就有非常大的不同。」
而談到德國的表演藝術，除了擁有碧娜•鮑因此，以台德共製的方式推出的《Unsolved》，
許等現代舞大師，業界更以完備的工作保障與不僅是作為一名表演藝術家對於身世處境的追索
福利著稱，包括表演藝術家專屬的職業工會、與反思，同時，更意蘊了脫困的可能。畢竟，就
保險，以及不論被聘用或自由接案的藝術家，像Stefan Hilterhaus所說的：「我們確信，藝術擁有
都能享有最低薪資保障，政府與民間組織也彼巨大的能力，可以有效處理當前現實中的矛盾，
此監督。從制度到風氣對人權的重視，也許是並可以做到許多系統機制無法做到的事情。」從
作為人文主義重鎮的德國，所能帶給台灣的另形而上看似進退維谷的生命狀態，到直接攸關生
一層省思吧。存條件的現實制度，都是如此。 l

of Taiwanese and European culture. “Lo Fang-yun’s work and private-sector organizations help ensure that these
is essentially inspired by both Western and Asian cul- protections are enforced. Perhaps this is due to Ger
tures. Her work fuses and unfolds different backgrounds, many’s embrace of humanism, and it certainly gives
narratives and concepts on many levels,” Hilterhaus says. Taiwan something to ponder over.
“She combines different materials and mediums in her “The art scene in Taiwan often gives the impression
artistic works with an originality that appeals to me.” that the artist must sacrifice for their art, even if they
Pact Zollverein has therefore been working on co are saddled with debts, but these are unrealistic expec-
productions with Lo since 2017. tations,” Chen says frankly. “The German experience
Coming full circle shows us that this is a profession and that artists need to
Lo points out that German theater has masters of be rewarded for their creations.”
modern dance, such as Pina Bausch, and that it is cel- Thus staging Unsolved as an international coproduc-
ebrated for providing comprehensive job security and tion has a dual purpose: to explore identity and to solve
social services for performing artists, including a profes- technical production problems. “We are convinced that
sional union and insurance. Whether accepting a sala- art possesses an enormous aptitude to deal fruitfully
ried job or working freelance, performing artists enjoy a with the many contradictions in our present reality, and
guaranteed minimum salary, and both the government can do much that the mechanics of some other systems
are not capable of,” Stefan Hilterhaus says.
The production is a journey into the metaphysical
questions of life and the practical means of bringing such
l
羅芳芸（前中）與陳成婷（前右）兩人均有強烈的身分認同
意識，她們以德國經驗，回流台灣業界。 a production to life.
Lo Fang-yun (front row, center) and Chen Cheng-ting (front row, (Lynn Su/photos courtesy of Polymer DMT/
right) share a deep sense of cultural identity. They are applying their
experiences from Germany to performing arts circles in Taiwan. tr. by Robert Green)
49
艾瑞卡之夢猜猜我有多愛你
永恆傳奇•貝多芬之夜三張明信片的三種風景
臺
南是臺灣第一座城市，也是臺灣書改編的親子偶劇《猜猜我有多愛
的文化首都，擁有豐富歷史文化你》，全劇以英文演出，暖心演出親
底蘊，眾多的古蹟、廟宇、老街、商子間的關愛；法國國家扶植團隊畢芙
圈、自然生態，是臺南文化觀光的最亞克劇團今年首次受邀來臺，帶來曾
大特色。「2018臺南藝術節」邀請來獲以色列海法國際劇場藝術節首獎的
自國內外多樣化的表演藝術團隊來到作品《艾瑞卡之夢》，以童話故事
大臺南地區演出，國內優質團隊並結《紅鞋小女孩》為創作發想，完美結
合本市各著名文化地景、古蹟與歷史合戲劇、舞蹈、音樂、馬戲雜耍與燈
建築等，把藝術帶進城市角落，呈現光藝術，在新營文化中心重現法式劇
一系列不容錯過的藝術饗宴。場幻境。近年屢次創下口碑及票房紀
適逢貝多芬逝世190周年紀念，錄的香港劇場空間，今年更突破演出
《永恆傳奇‧貝多芬之夜》邀請到奧限制，於老爺行旅B a r21演出外百老
地利音樂大使維也納室內樂團以及羅匯知名作品《三張明信片的三種風
馬尼亞國寶級指揮安德列斯庫，以景》，帶領觀眾進入都會熟女的人生
原汁原味的維也納金色音符，向大師剪影。
致敬；《古典音樂駭客之夜》則由將近3個月的豐富藝術饗宴，將延
幽默搞笑卻又經典的古典駭客二人組續以往國際經典、臺灣精湛、城市舞
Igudesman & Joo搭配臺南市交響樂臺三大系列。活動期間在全市演出
團，變「噪音」為「樂音」，用「古精采戲劇、舞蹈與音樂節目，團隊陣
典樂」對戰「搖滾樂」，提供觀眾從容堅強、節目類型豐富、演出精采多
所未有的古典樂之夜！元。邀請所有愛好藝術的市民朋友都
今年首次邀請到荷蘭大地劇團能無負擔親近這些來自世界各地遠道
(Theatre Terra)由全球暢銷的圖畫而來的一流演出。
早安，自然選修課 ◎ 文／圖．劉克襄
好讀
月石虎剛剛離開
早晨的水田，彷彿仍殘留著昨
山的稜線以相思樹為主，覆蓋了
整個森林上方，形成此一丘陵的重
晚的冰冷溼意，一些低淺的窪坑偎要地貌。從腳前的田埂再往前，有
集著靜伏不動的小蝌蚪。用手指輕條手砌的卵石小徑，鋪進次生林。
輕撥動，牠們微微四散，又停止下這兒有許多早年的卵石古道橫越
來。天氣太冷了，似乎連多移動一山區，成為先民挑擔，扛負鹽巴、
點都會消耗許多體力。香茅和木炭的交通要道。
一個月前，這兒才注滿圳水，蟾唯這條路不長，盡頭是一座石
蜍很快就在此現身，產下長條狀砌的矮小土地公廟，後面有棵大楓
膠質的卵串。沒多久，保護在膠質香倚靠著。小小紅布壓在廟頂，香
裡的卵，孵出數百隻黑色小蝌蚪。爐仍插著線香殘柱，顯見小廟不
我研判，窪坑裡面應該也有不少水時有人定時祭拜和清理。土地公
蠆，準備捕食牠們了。廟正對著水田，儼然在守護著地
水田旁邊緊鄰著緩斜的土坡。方產業。
更是一回賞讀美篇的心靈停駐……
也是一段遍閱佳構的遨遊，
是一趟巡覽好文的旅程，
坡地上長滿芒草、灌叢和爬藤，苦楓香樹後，還有條不甚清楚的
楝、朴樹、桑椹從中茁壯，形成優泥土小徑。小徑消失的地方，一座
勢的喬木樹種。有的地方則栽種了鮮為人知的炭窯，被草叢掩埋。炭
肉桂和柚子、柑橘等果樹。十來隻窯因久無人使用，早已崩塌過半，
斑文鳥停棲在芒草叢，好像才醒只能做為相思木炭曾大量生產的
來，滯留了好一段時間，尚未展開重要遺址。
一天的行程。還有白頭翁在梳理遠遠望去，這時節淺山的青綠
羽毛，一邊吱喳叫著，似乎搞不定愈發清楚，一派淺淡輕柔，把什麼
下一站要去哪裡。是綠色，優雅地詮釋出萬千風貌。
土坡連接著落葉滿地的次生林，亞熱帶森林多樣的魅力，盡在此時
樟樹、油桐、香楠和三刈葉等混生此處展現。但多數人不在乎這種綺
其間，小彎嘴從那兒發出響亮的呼麗，因為太熟悉反而陌生，或者不
喚。次生林以多樣的樹種和層次，懂得如何欣賞。就像不遠處，好幾
展現森林的繁複和隱密。現在是各棵田邊苦楝淡雅地盛開，那種素
種綠色怒放的時候，偶有杜英掉落樸的美麗，往往乏人青睞。倒是下
兩三片紅葉，但少有人注意。個月，油桐花開時，白花如雪景皓

皓，吸引了眾人注意。但那時的綠究貓科的學者以為，一般健壯的
意濃厚而單一，缺乏層次了。還是習慣在野外打獵，展現狩獵
我蹲在田埂檢視，早晨的田地的本能。
出現了四小一大的柚子形腳跡。石虎時而會潛入雞舍，還有一
一步一痕，排出一列長長的新鮮重要原因。我們開發了大面積的淺
足印。昨晚夜深時，有隻石虎從森山環境，牠們的獵物相對減少，只
林裡下來，悄悄地穿過土坡，跳下好以雞舍為目標。緣於此因，好幾
水田，在此觀察一陣後，慢慢地走位朋友為了搶救石虎，晚近乾脆承
到我前面的泥灘。緊接，停駐了一租一些淺山地帶的水田，或者鼓
陣，因而腳印在此覆踏了好幾個。勵復耕。山腳有大面積的友善水
除了蝌蚪，我看到好幾隻田螺在田，石虎的保育愈有希望。
勇敢地蠕動。我猜想，那隻石虎應走在這些鄉野環境，我也常注
該在此捕捉到某一喜愛的獵物。意荒廢的耕地。希望擁有者，何妨
書名：早安，自然選修課
然後傲然叼著，沿著田埂邊，再爬創造更多溼地樣態的休耕水田，
作者：劉克襄
上土坡，經過土地公廟和炭窯，消定價： 320元頁數：183頁藉此吸引更多動物棲息。天黑之
出版：玉山社
失於森林。後，這類水田便是野生動物溫馨
牠走回去的腳印如前，顯見獵物的深夜食堂，不少中型哺乳類都
不大，但應該足夠飽食一頓。或許雞，牠知道每次捕捉只有一次撲擊喜愛在此出沒，諸如麝香貓、白鼻
是隻小田鼠最有可能。那是牠最常的機會，因而都會等待很久。沒有心、鼬獾等，石虎也是其中的成
在田裡捕捉的主要食物，六七月稻十分把握，絕不展開致命一擊。竹員。牠們都是龍貓兄弟。
作豐收時，一個晚上下來，石虎可雞當然也相當機警而靈敏。白天此外，產業道路
以獵捕到三四隻。昨晚天冷，牠若時，牠們小心翼翼地走在林地間，的開闢，對淺山
能捕到一隻應該就很欣慰了。一邊啄食，隨時眼觀八方。晚上造成的傷害如
我佇足的地方是火炎山山區。這時，整個家族跳到樹上集體擠成今也愈來愈嚴
幾年經常搭火車前來，在三義車一排，避免被石虎等獵捕者突襲。重。山路能免
站下車後，背包裡放著飯糰和水石虎知道竹雞不易捕捉，夜棲則減，舊路更
壺，便往山區漫遊。一條山路又一不定。天黑了，寧可下山，走進水不宜再拓寬。大
條，一座山村復一村。我積極地尋田裡尋找食物。水田若不噴灑農量去水泥化，保持
找著仍在耕作的水田，還有走看哪藥，一年四季常有各種動物出沒，泥土路，減少對環境造
兒還有什麼風物。自然成為牠重要的覓食環境。晚成的衝擊，動物才能獲得允當的
在這一帶淺山來去，經常聽到近幾位朋友架設夜間攝影機，都棲息空間。
竹雞的對叫聲，不時響徹山谷。每不難捕捉到石虎的身影。或許，一一隻石虎的活動面積約莫數百
次在林子裡驚起竹雞三五飛竄，些農民會指責石虎，晚上喜愛潛入公頃，以苗栗地區為例，淺山環境
我總是想起石虎。石虎是高明的雞舍偷捉雞，但這樣的數量其實要找到大面積沒有道路劃過的區
獵者，善於謀定而後動。面對竹不多，多半也是老弱石虎。有位研域，如今並不多。石虎往往為了覓
53
食，不得不跨過不只是牠們的消
道路來去。近幾失或滅絕，而是整個
年，許多鄉道和淺山環境的維護。
產業道路都設有小心石虎的告示我繼續遙望著那些
牌，提醒夜間的開車族，小心石虎暗黑之後的某一樹林空
經過。來去快速的車輛往往形成間，就算再給我兩輩子的
可怕的殺手，石虎常被意外撞死。時間行山，要在野外看
但根本之計，還在於保有棲地的淺山是人類生活裡利用頻繁到石虎的機率，恐怕仍是萬分之
完整性，減少道路的開發。的環境，同時是其他動物和人類一的微乎其微，但我毫不在意。就
我循著卵石小徑走上去，跟土地接觸最密集的地方。石虎尤為指像地球不是唯一有生物的星球，
公廟敬拜。環顧周遭，看看有無石標，如果無法生存，意味著淺山遙遠的某一個地方，仍有生命活
虎的任何排遺。炭窯在更裡面的樹環境的危機。根據現有的調查初著，我知道就好。
林，以某一隱密的暗黑存在著。那估，全台灣的石虎數量最多可能我因這樣的想像，隱隱感覺石
樣的原始不可侵犯，讓人覺得從那僅五百隻，多半集中在中部。石虎虎就在森林深處，隨時都在窺看。
兒回去的石虎會活得更好。的議題方興未艾，我們關切的也眼前的山，繼續豐饒地存在。
  
走過黃牛風景在下，只能退而求其次，詢訪在地麻煩，因而愈來愈少人飼養。如今

海風習習，夾著炙熱之氣，流動人，獲取此一探看的機會。鐵牛車經過改良，同樣能行駛於
於街坊間。沿著一隱蔽巷弄，轉提供訊息的阿公和村裡的老人潮間帶，載運量大又快速。對照
個彎，海風好像消失了。眼前的土一樣，現在都是駕駛鐵牛入海。走下，黃牛彷彿是落伍的工具。況且
角厝裡，一隻黃牛棲息著，流著口進潮間帶載運蚵仔的黃牛十分罕駕駛牛車者都是老一輩，鄉下地區
涎，茫然地望過來。見，恐怕十年內就會走到盡頭。年輕人嚴重外流，缺乏後繼者。
聽說牠是少數還能夠走進海裡整個西南沿海都是蚵仔的重要產以往，一般印象中的黃牛，主要
載運蚵仔的，其他年輕的黃牛跟地，但放眼整個大環境，唯有芳是用來幫忙耕作旱地，以及載運甘
村裡的年輕人一樣，非但數量稀苑一帶，方有黃牛載蚵的情景。原蔗和穀物等農產。水牛雖壯碩，但
少，也不懂得如何前往載運了。來，退潮時，此區爛泥灘地裸露長拉運的本領遠遠不如黃牛，反而
三十多年前，開始觀鳥時，在芳達一公里，只能靠牛車行駛，才能較適合在潮溼的水稻耕作。黃牛
苑海邊，印象最深刻動容的地平載運蚵仔回岸。在海邊載蚵仔的傳統，算是比較
線畫面，就是一隻黃牛拉著紅輪怎奈昔時不可或缺的動物，現特殊的本事。但不論哪種牛，昔時
小板車，醒目而孤單地走過空曠在反而不需要了。這兒遇到的困農家擁有牛隻者，都像家裡買了一
的海岸。最近前往那兒，遙望大海境，跟其他旱地如大肚山有些相部高級轎車，算是相當富有的。
時，想要目睹的也是這個遼闊而似。黃牛走在溼地跟耕田一樣，都我的老家在台中盆地，此一環
滄茫的景觀，但已不可得。不復存必須長時訓練。照顧牛隻又相當境多半種水稻，因而到處可見水

牛。我們的村子亦是，唯我家飼養的，看來走進大海的工作應該不會論三兩隻遊蕩，或一整群來去，遇
一頭黃牛。以前不解此因，後來探再託付了。到了都特別感到振奮。只可惜，不
問才知，當時會選擇黃牛，主要考小時，我常坐在牛車上，跟著叔熟悉港牛的脾氣。要不，真想過去
量到村裡雜糧稻作的載運，還有公到處走。黃牛脖子還掛著一口撫摸，跟牠們做朋友。
冬天旱地的耕作。水牛到處可見，美麗的銅鈴，走到哪響到哪。那輕香港黃牛乍見時，直覺跟台灣
可以跟鄰人租借來耕田。但黃牛只盈清脆的鈴噹聲，低調地發出，隱的長相落差很大，跟福建地區的也
此一家，冬天時人人種大麥，換我隱揚出童年鄉村和郊野的美好情明顯有差別。看來各地可能因歷
們家黃牛忙碌。到處幫忙，收入反境。我因而對黃牛感情特別深，尤史原由，品系混種，因而產生個體
而更好些。其是遇見掛鈴者，常忘記要事，癡的差異。緣於歷史變遷，我以為大
叔公也把黃牛當家人照顧，特呆地停留在原地，觀望不去。童年陸黃牛品系源自北方黃土高原，台
別在緊鄰灶腳旁的空地蓋了間土時，還有一個常見的綺麗畫面，讓灣則跟荷蘭和日本有關連。但不
厝。日日餵食新鮮的芒草，黃昏時人緬懷不已。黃牛犁田時，背後總論哪一種，大體說來，黃牛都比水
還幫牠薰香茅驅蚊蟲，讓牠夜深會跟著大群牛背鷺。旱地被黃牛大牛溫馴。
後可安睡。黃牛照顧得肥壯，自是力翻耕後，土壤裡平時不常見的昆以前四五友人在陽明山行山，
賣力。冬天運送大麥，暑夏載負稻蟲紛紛跑出來，正好讓牠們興奮地撞見一對水牛。我們未特別著了什
米，幫助我們家計甚多。遑論牛糞飽食。但水牛耙田時，牛背鷺卻較麼刺目的衣服，只是突然出現，牠
都可施肥，或當燃料、建料。少接近，換成喜愛潮溼環境的小們便不高興地口鼻噴氣。接下，凶
但在芳苑海邊，我想到的都是白鷺，踩著溼軟的泥地，尋找水生狠認定，我們是不友善的闖入者。
黃牛拉車的畫面。眼前的黃牛，無昆蟲。迅即挺著一對尖銳的牛角，直奔
精打彩地觀看我，不斷地用尾巴後來在香港行山，海邊或山頂而來，把我們當成敵人驅逐。嚇得
揮趕蒼蠅，彷彿也想把我趕走似的郊野，經常撞見野放的黃牛。不我們一路狂逃，驚魂未定地跑上一
處高崗。眼看牠們盤據山路不去，
逼不得已，只好改道而返。
黃牛就不會了，牠們溫馴謙和，
看見行山人到來，或許會稍微凝
視，但多半是一派溫和地觀察。緊
接著，靜默地讓出既有的山路，自
個兒挪移到其他區域活動。又或者
始終，保持一個安心的距離，不近
亦不遠，彷彿整個郊野跟我們的親
切關係。
或許是這樣吧，有人問我在香
港行山，最喜歡看到什麼風景時，
腦海裡浮升的第一個印象，竟然
是黃牛的出現。
55
影像對話　PHOTO ESSAY
金門島建築流變
Kinmen’s
Changing Architecture
圖／文•莊坤儒　版面設計•王敬勛

觀察一個地方的歷史，
往往地方的建築特色是最好的見證。
金門，一個自晉朝時期就有歷史記載，與
廈門相對望，位於九龍江外的大小島嶼，如
同屏障一般圍繞在廈門灣口。其得天獨厚的
文風，從宋朝以來，竟產出高達39位以上的
進士，依照慣例，出一位進士便要興建一座
祠堂，所以金門島上的傳統閩式建築林立，
就有這樣一層淵源。
I f you want to examine the history of a

place, often that place’s architecture pro-
vides the best evidence.
Kinmen is a group of islands large and small

that lie off the southeastern coast of the Chinese
mainland, forming a barrier across the mouth of
Xiamen Bay opposite the Jiulong River and the city
of Xiamen. Historical records about Kinmen date
back to the Jin Dynasty (265–420), and settlement is
recorded from the Tang (618–907). With its unique
educational ethos, Kinmen produced over 39 jin
shi (successful candidates in the highest grade of
the imperial examinations) from the Song Dynasty
(960–1279) onward. According to convention, each
time an examinee from Kinmen became a jinshi, an
ancestral hall was constructed. This is part of the
story behind the many traditional Southern-Fujian
ese-style buildings on Kinmen.
57
台灣日治時期，許多金門人至南洋經商，賺了錢之
後，便回鄉興建洋樓彰顯自己的成就。據統計，清末
民初的僑匯時期洋樓，大概就有161棟。歲月逝去，
如今遺留下來的大多斑駁老舊，只有較為大型「得月
樓」等，因為縣府經營維護，才得以維持往日風華。

From the 1840s to the 1940s, many people from Kinmen went to Southeast Asia to do business,
and some of those who made their fortune there returned home and built “Western-style” houses
to show off their success. Some 161 such Western-style homes were built before 1949. With the
passage of time, most of those that remain have become mottled and old. Only a few larger
buildings, such as the Deyue Tower, have been able to maintain the glories of yesteryear, thanks to
conservation by the Kinmen County Government.
59
民國38年國民政府播遷來台後，金門島搖身一變，成為堅若磐石
的軍事碉堡，大砲、掩體、心戰喊話、大型坑道成為一大特點。
In 1949, after the ROC government decamped to Taiwan, Kinmen changed

dramatically. It became an indomitable military fortress, and its special
features became artillery pieces, bunkers, loudspeakers blaring out slogans
of psychological warfare, and large military tunnels.

61
經歷八二三炮戰的洗禮，近百
萬顆砲彈落在小小的金門島，炸
毀了許多民房，而這些戰爭的痕
跡，也可以在建築本身觀察到。
During the Second Taiwan Strait

Crisis of 1958, nearly a million artillery
shells landed on tiny Kinmen. Many
private houses were destroyed, and the
scars of war are still visible on surviv-
ing structures.
63
21世紀開始，軍事化氣息稍微消退，往日的碉堡逐漸廢棄，新式建築與
海濱咖啡館成為觀光客探訪的新目標。連接小金門的金門大橋如火如荼地
興建，與對岸廈門島相對望，幾百年來的歷史光陰，就在一磚一瓦間低訴
吟唱。 l
Since the start of the 21st century, the military flavor has receded somewhat,
the fortresses of the past have been gradually abandoned, and new-style buildings
and seaside coffee shops have become the new attractions for visiting tourists.
Construction of the Kinmen Bridge, linking Kinmen Island with Little Kinmen, is
busily underway. The history of the past several centuries is quietly evoked through
each brick and tile of Kinmen’s architecture. l
(photos and text by Chuang Kung-ju/tr. by Phil Newell)

65
全球視野　GLOBAL OUTLOOK
串起海外的
溫柔力量
世華會總會長黎淑瑛
A Different Kind of Soft

Power—Li Shu-ying and
the Global Federation of
Chinese Business Women
世界華人工商婦女企管協會成立
二十多年來，總會設於台灣，分會遍
及全球，串聯工商界的華人女菁英，
共同促進華商婦女在國際上的發展，
提升婦女經濟力量，並致力推動公益
活動與僑務工作，成為國民外交不可
或缺的「新女力」。
以往都是由台灣的會員擔任總會
長，但 2016 年卻誕生了第一位海外總
會長──黎淑瑛。她長年旅居美國，原
是舞蹈老師的黎淑瑛，為跨足飯店管
理，從櫃檯、房務等基層工作學起。
如今在美國建立擁有多間連鎖品牌飯
店的旅館王國。本期光華將透過黎淑
林旻萱攝 photo by Lin Min-hsuan
瑛的故事，探看世華婦女在國際奮鬥
的軌跡。

文•陳群芳　圖•世華會提供　版面設計•蕭郢岑
世界華人工商婦女企管協會（以下簡稱「世
華會」）自1994年創立以來，始終以心懷世界、 T he Global Federation of Chinese Business
Women brings together leading ethnic Chinese
businesswomen from around the world to promote
掌握脈動、建立網絡、發展經貿為宗旨。在歷任
their place in business, as well as doing philanthropic
總會長及會員的努力下，美國、巴西、越南、日
work and contributing to diaspora affairs. Through
本、澳洲……等國家都有世華會的足跡，如今分
these efforts, it has become a formidable female force
會遍布全球62個據點。 in civic diplomacy.
Previously the federation had drawn its chair-
凝聚華商婦女的力量
women from its Taiwanese membership, but in 2016 it
有華商婦女的地方，就有世華會的蹤影。世華 broke with this tradition to appoint its first overseas-
會匯聚了一群認真奮鬥的女企業家與職業婦女， based chairwoman, Li Shu-ying. A long-time resident
她們來自醫療、教育、美容、旅館等各行各業。 of the United States, Li started her career as a dance

teacher before moving into hospitality, working her
會員身兼妻子、母親、主管、員工等多重角色，
way up from the front desk and room service to be-
世華會看見了職業婦女兼顧工作與家庭的辛苦，
come a hotel manager. Today she runs her own chain
於是闢建了一座堡壘，這裡就像是個大家庭，彼 of several hotels. In this article we take a look at the
此以姊妹相稱，讓在異地打拚的華商婦女能有一 challenges faced by ethnic Chinese businesswomen
個分享交流的地方。 through the experiences of Li Shu-ying.
Since its establishment in 1994, the Tai-

wan-headquartered Global Federation of Chi-
nese Business Women (GFCBW) has taken as
its mission “envisioning the world, embracing
trends, establishing networks, and developing
the economy and trade.”
Today, its membership has grown to com-
prise some 62 chapters worldwide in countries
as far apart as the US, Brazil, and Vietnam.
By our powers combined...
The G
FCBW comprises hardworking fe-
male entrepreneurs and professionals from
fields as diverse as medicine, education,
世華會不定期舉辦經濟論壇，
邀請華冠獎得主分享她們的創業故事。
The Global Federation of Chinese Business Women
often organizes economic forums, inviting winners
of the Huakung Award to share their entrepreneurial
experiences.
67
人脈、資源都在世華會裡互相分享，各分會不世華巴拿馬分會成員用愛心陪伴病童，
度過一個快樂的兒童節。
時舉辦華冠學苑、經濟論壇、企業參訪等活動， Members of the GFCBW’s Panama Chapter offered their
assistance to help sick children enjoy a happy Children’s Day.
找來專業講師幫會員上課，增進企業管理的知
識，讓大家能在世華會裡一起邁向更卓越的事業
發展。隨著分會據點越來越廣，世華會的成員們
也能在各地參加活動的同時打開視野。世華會在2001年創立華冠獎，由各分會提名當地具
世華會的成員們不僅事業有成，更積極的參有影響力的成功女企業家，並由國內產官學法界
與公益，例如捐助新台幣100萬為教育基金支持的專家組成的評選小組，來遴選世界十大傑出華
新竹泰雅學堂，或是前往巴拿馬兒童醫院的癌症商婦女華冠獎得主。而一位成功的婦女，夫婿的
治療病房陪同孩子慶祝兒童節。每當各地發生災支持往往功不可沒，世華會因而設置牽手獎，肯定
害時，世華會第一時間就號召姊妹的力量伸出援共同奮鬥的模範夫妻。本屆總會長黎淑瑛，與世華
手。去年哈維颶風重創美國休士頓，災情慘重，會的緣分就是從她2007年獲得第三屆華冠獎開始。
世華會動員各地分會募款，短時間就募集8萬美
點滴耕耘旅館王國
金，成為第一個捐款的僑團。日前花蓮遭受地震
重創，世華會凝聚全球姊妹的愛心，捐贈10萬美長年旅居美國的黎淑瑛，原是一位舞蹈家，在
元及搜救運輸車，並號召各分會安排花蓮活動行休士頓開立舞蹈學校。1988年美國經濟大蕭條，
程，為花蓮觀光產業盡一份心力。她與先生許文忠看準了投資的時機，以實惠的價
長久以來，華人走遍世界創業開墾，女性的力格購入第一間旅館，開始了兩人的創業之路。
量更是不容小覷，不論是與先生共同開創事業，或為了研究旅館實際營運狀況，夫妻倆連續3個
是獨立奮鬥，那股堅毅的力量，都令人欽佩。於是月，每晚開2小時的車程，前往計劃購入的旅館

cosmetics, and hospitality. Encouraging a familial atmo- in light of this that the federation launched the Huakung
sphere, the members all address one another as “sister,” Award in 2001, recognizing the top ten Chinese women
and the federation serves as a way for ethnic Chinese in world business. Current chairwoman Li Shu-ying is
businesswomen to come together and share experiences. a former recipient herself, with her recognition in 2007
The membership share networks and resources, and marking the start of her ties to the federation.
the various chapters each hold a range of activities, Building an empire step by step
including the Huak ung Academy, economic forums, Li Shu-ying is a long-time resident of the US and
and business visits to help everyone work toward even started off as a dancer, opening her own dance school in
greater career achievements. Houston. When the American economy went into reces-
Federation members are not only successful in busi- sion in 1988, she and her husband Steven Hsu seized the
ness, but are also active philanthropists, including par- opportunity to invest cheaply in their first hotel, starting
ticipating in activities like traveling to a Panamanian down their joint path as entrepreneurs.
children’s hospital to help young cancer patients cel Coming to the industry as an outsider, Li started at the
ebrate Children’s Day. And whenever disaster strikes, bottom, working the front desk, doing cleaning and so
the GFCBW calls upon the sisters’ strength to extend a on, learning from her staff as she went. In the early days,
helping hand. After Hurricane Harvey devastated Hous- her husband continued with his day job to help make
ton, Texas, last year, the federation rapidly raised some ends meet while Li handled hotel affairs, making the long
US$80,000 across its various chapters to help. commute there and back each day by herself.
The Chinese have a long history of setting up shop The following year, an investor came in and paid a high
around the world, and women’s contributions and strug- price for their hotel, and so the couple took the money
gles, whether in helping their husbands start businesses and used it to buy a second hotel, beginning to expand
or in starting their own, cannot be underestimated. It was their business. When they invested in their third h
otel, Li’s
溫柔親切的黎淑瑛（前排右3），不僅旅館事業經營有成，
更熱心參與僑務和公益，獲頒華冠獎實至名歸。
The gentle and gracious Li Shu-ying (front center, in white) has not only built a successful hotel
business, but also enthusiastically participates in overseas community affairs and charity activities,
earning the Huakung Award for her efforts.
69
外面觀察車流與旅客，仔細推估營業量，做足準旅館。黎淑瑛回想當時，土地周邊一片荒涼，雖
備後，黎淑瑛便將舞蹈學校收起，全心投入旅館然許多人都不看好，但她評估鄰近的石油公司有
事業的經營。人口遷徙的住宿需求，且旁邊就是公路的交通優
門外漢的黎淑瑛從站櫃檯、打掃房務等基層勢。憑著先前經營旅館的經驗，取得國際旅館集
做起，謙卑地向員工一點一滴學習。創業初期，團希爾頓的信任，兩人成功開發一間希爾頓花園
許文忠仍在原本的公司上班維持家計，黎淑瑛則旅館。在2004年旅館開幕後，帶動周邊的發展，
一個人挑起旅館的大小事，每天獨自開車長途往如今中國城、越南城、馬來西亞城等如雨後春筍
返。有次休士頓出現罕見的凍雨，路上的交通因般發展，許多大型商場進駐，原本的不毛之地儼
為天氣而狀況頻頻，黎淑瑛還差點在結冰的公路然已是國際商業中心。
上打滑，所幸在許文忠以電話指點路線中，終於黎淑瑛夫妻倆以華人之姿，耗資重金開創旅館
平安到家，如今她回想都還心有餘悸。王國，不僅創造許多就業機會，並與當地政商保
隨著景氣回升，隔年夫妻倆用心經營的旅館持良好關係。熱心參與僑務的兩人，更是駐外單
便被投資者相中，以高價收購。兩人再拿著這筆位堅實而有力的後盾。
資金買下第二間旅館，以一年投資一間的速度，
文化種子，樂於付出
逐步開拓事業版圖。投資第三間旅館時，許文忠
便辭去工作，兩人成立美國聯合旅館投資管理公在出色的飯店經營之外，跳舞仍是黎淑瑛的最
司，由黎淑瑛擔任副總裁。主修數學的許文忠擅愛，她在大學時便常有出國巡演機會，赴英國深
長財務分析，負責營運管理；總是笑臉迎人的黎造時，更是常隨著僑團到處演出。雖然舞蹈學校
淑瑛則負責公關行銷，在夫妻倆齊心奮鬥下，如在創業時收起，但黎淑瑛仍持續擔任僑委會的海
今旗下擁有多間連鎖品牌的旅館。外文化教師，至今已二十多年。
除了收購現成旅館，黎淑瑛和許文忠還在尚未黎淑瑛把台灣的原住民舞、採茶舞等傳統舞蹈帶
開發的地區從無到有蓋了一間五星級連鎖品牌的到異國，教授僑胞、僑二代，甚至還有當地官員的
黎淑瑛與先生許文忠攜手在美國打拚，
成功建立她們的旅館王國。
Li Shu-ying and her husband Steven Hsu have
built their own little hotel empire in the USA.

husband left his job and the two of them founded Allied
Hospitality Inc., USA, with Li as vice president. Having
majored in mathematics, Hsu put his skills in financial
analysis to use heading up operations management,
while the ever-smiling Li took responsibility for market-
ing and PR. Between the two of them, the couple have
worked hard and now own a chain of several hotels.
In addition to buying existing hotels, Li and Hsu have
also successfully started one of their own, the Hilton Gar-
den Inn, from scratch, in a previously undeveloped part
of Houston. The 2004 opening of the hotel helped spur
development in the area, with several major retailers set-
ting up nearby, transforming the once-barren district into
a thriving center for international business.
The sizable investment in their hotel empire has not
only created job opportunities, but also helped them de-
velop good relations with local businesspeople. And as
enthusiastic participants in overseas community affairs,
the two have also become a powerful source of support
for overseas missions.
A price gladly paid
Alongside her success in the hotel business, Li’s first
love remains dance, and for 20 years she has been an over-
seas cultural teacher for Taiwan’s Overseas Community
Affairs Council (OCAC).
Li travels around the world, bringing with her tradi-
tional Taiwanese dance forms, including Aboriginal dance
and the tea-picking dance which she teaches to fellow
emigrants and second-generation overseas Chinese, and
even the children of local officials. She has tailored her
teaching to her students—for example, the elderly learn el-
egant fan dances, while children don wooden geta (Japanese
clogs) and tip-tap through a geta dance of Li’s own creation.
The final performances are invariably astonishing events
that delight audiences in Taiwan, and prompt Taiwan’s
diplomatic partner nations to invite Li again and again. 熱愛跳舞的黎淑瑛在國外教授傳統舞蹈，撒播文化的種子。
Under Li’s traveling tutelage, students have been able Li Shu-ying is passionate about dance and teaches traditional
dance abroad, helping sow seeds of culture more widely.
to take the stage at events from local Chinese community
events to ROC National Day and Lunar New Year celebra-
tions. There is even a group of mothers-cum-students who dent of the Taiwan Hotel-Motel Association of Greater
are ready to travel the world at the drop of a hat, their Houston and is currently a commissioner of the OCAC,
suitcases kept packed with makeup, costumes, and props, working to help boost the influence and status of ethnic
to sow seeds of Taiwanese culture around the globe. Chinese entrepreneurs abroad. Li has earned a reputa-
Girl power shining bright tion not only in business, but also for her commitment
Li Shu-ying’s efforts have even earned her an Overseas to serving the community, which is what earned her the
Chinese Teachers Award. She has also served as presi- Huakung Award.
71
家人的支持是黎淑瑛最堅實的後盾，讓她能全心在世界各地為華商婦女服務。
The support of her family has been invaluable in helping Li Shu-ying in her efforts to
serve Chinese businesswomen around the world.
子女。不分男女、不論老幼，黎淑瑛因應對象調整冠獎」是實至名歸。
教學內容，年長者跳著優雅的扇子舞，小朋友拿著華冠獎是榮耀也是責任，獲選者肩負全球華商
木屐敲敲打打跳著黎淑瑛自創的木屐舞，成果發表婦女標竿的頭銜，每次世華會舉辦華冠論壇時，也
時總讓台下觀眾驚艷，也讓友邦邀請她一去再去。會邀請歷屆得主巡迴各地，分享她們創業的點滴與
黎淑瑛表示，因為地緣關係，除了美國各州經營之道。黎淑瑛在2007年獲獎後即開始到各地分
外，她常被僑委會派往巴拿馬、宏都拉斯等中南享她的創業故事，之後陸續擔任美南分會會長、
美洲國家教舞，常常一去就是個把月。早期有些兩任副總會長。隨著當時的總會長走遍世界各地
地區經濟、治安不太好，機場就有穿著迷彩服持的分會，積極拓展世華會在海外的據點，讓世華
槍的軍人，甚至還要自備發電機，克服隨時可能在全球的知名度逐漸提升。過去歷屆都由台灣會
停電的處境。員擔任總會長的慣例，也隨著海外會務的拓展，
在黎淑瑛的巡迴教學下，僑界或國慶、春節等而需要擅長國際事務的人才出任，於是黎淑瑛海
慶祝活動的場合裡，許多學生都能登台表演。甚外走透透的專才，成為選務會裡的不二人選。
至還有一群媽媽級的學生，每個人都有一只裝滿來自海外的第一位總會長，黎淑瑛秉持著「謙
化妝品與表演服裝、道具的行李箱，隨時能說走卑學習、感恩奉獻、資源分享、宏觀視野」的信
就走，到各地去表演，將台灣傳統舞蹈文化的種念，發揮她在海外的影響力，將世華會的腳步走
子撒播世界各地。的更深更遠。兩年的任期，第一年就建立9個海
外分會，黎淑瑛笑說一天到晚飛來飛去，常常醒
海外耕耘，女力閃耀
來不知自己身在何方。
黎淑瑛的付出，讓她獲得海外優良教師獎、海隨著歐洲維也納、馬來西亞檳城、柬埔寨金
外優秀青年獎等獎項的肯定。她曾任休士頓美南邊等分會陸續成立，黎淑瑛持續貫徹團結全球華
旅館公會會長、美國國會領袖基金休士頓分會顧商婦女的使命：只要有華商婦女的地方就有世華
問，也是我國現任僑務委員，致力增加華人在國會，有姊妹的地方就有溫暖，彼此攜手促進經貿
外的社會地位與影響力。黎淑瑛不僅事業經營的的發展，並持續回饋社會。因為她們的付出，台
有聲有色，也盡心盡力地為社會服務，獲頒「華灣將被更多人看見。 l

That award is both an honor and a responsibility, the foundation’s chairwomen were customarily drawn
with recipients serving as role models in the global from the Taiwanese membership, but as its overseas
community of Chinese businesswomen. Whenever the presence has grown, so too has the need for leadership
GFCBW holds the Huakung Forum, past winners of the skilled in international affairs. Thus it was that Li Shu-
award are invited to share what they have learned in ying emerged as unquestionably the best candidate.
their journeys through the world of business. Li herself As the first overseas-based chairwoman, Li has used
has, since receiving the award in 2007, traveled to var- her influence to help extend the GFCBW’s reach. In the
ious places to speak, as well as serving as chair of the first year of her two-year term, she oversaw the establish-
GFCBW in the Southern USA, along with two terms as ment of nine new overseas chapters.
deputy chairwoman of the entire GFCBW. In the latter With new chapters popping up in Vienna, Penang and
position she traveled to chapters all over the world, elsewhere, the foundation is continuing to achieve its mis-
actively working to expand the reach of the foundation sion of bringing together ethnic Chinese businesswomen
and gradually elevate its global reputation. In the past, around the world. The goal is for there to be a space for
sisterhood, mutual support, and community contribution
wherever there are Chinese businesswomen, thanks to the
黎淑瑛（2排右7）牽起各地世華姊妹的手， Global Federation of Chinese Business Women. l
共同邁向更美好的未來。
(Chen Chun-fang/photos courtesy of GFCBW/
Li Shu-ying (second row, seventh from right) has joined hands with
sisters from around the world to work together for a brighter future. tr. by Geof Aberhart)
73
全球視野　GLOBAL OUTLOOK
插畫：王敬勛 art by Henry Wang

充滿台灣味的衛星
福衛五號展現台灣太空研發能量
A Taiwanese Satellite:
Formosat-5 Highlights Space R&D Capabilities
文•曾蘭淑　圖•國家太空中心提供　版面設計•王敬勛
歷經6年研發，總經費新台幣56.59億元的福爾
摩沙衛星五號，是台灣第一枚自主研發製造的高
F ormosat-5, Taiwan’s first domestically developed
and produced high-resolution optical telemetry
satellite, took six years and NT$5.66 billion to create.
解析度光學遙測衛星。 Launched from Vandenberg Air Force Base in the
2017年8月25日福衛五號在美國加州范登堡空 United States on August 25, 2017, the satellite ex-
軍基地順利發射升空後，卻傳出衛星休眠、影像 perienced early problems with its remote sensing
失焦等問題，在研發團隊不眠不休地解決困難 instrument that prevented it from producing the high-
下，4個月後，福衛五號從太空傳來清晰的台灣 resolution images its designers expected. The develop-
ment team immediately went back to work, and spent
空照圖，向世界展現台灣太空科技實力。
four nerve-racking months identifying the cause of the
problem and crafting a solution. Their hard work paid
2017年8月25日凌晨2時51分，福爾摩沙衛星五
off, enabling the satellite to produce clear and sharp
號（以下簡稱福衛五號），搭乘美國SpaceX公司 aerial maps of Taiwan, and showing the world the
的「獵鷹九號」火箭，順利發射到720公里外太 strength of Taiwan’s indigenous space technology.
空，順著太陽軌道運行，執行遙測影像等任務。
Formosat-5 shot into space on the back of a SpaceX
福衛五號，發射！ Falcon-9 rocket at 2:51 a.m. Taiwan time on August 25,
2017. Successfully inserted into a sun-synchronous orbit
發射後的11分19秒，福衛五號順利與火箭分
720 kilometers above the Earth’s surface, the satellite
離。83分鐘後，挪威北極地面接收站首度接收到
then began its remote-sensing mission.
福衛五號訊號；100分鐘後，挪威第二次收到訊
Three, two, one, lift off!
號。因為衛星軌道傾角所涵蓋地球南北緯度的範 Formosat-5 separated from the rocket 11 minutes and
圍有限，直至400分鐘後，台灣地面接收站才首 19 seconds after launch. The satellite’s first contact was
度接收到福衛五號訊號。 with Norway’s Svalbard Satellite Station, 83 minutes from
75
「我在美國的發射站，從電話那一頭，聽到台福衛五號計劃主持人張和本博士認為，福衛五號自主研發
成功，是團隊不斷解決困難、集思廣益的成果。（林旻萱攝）
灣接收站歡聲雷動的聲音」，6年來從頭到尾擔 Project director Chang Ho-pen believes the key to Taiwan’s
successful independent development of Formosat-5 has been
任福衛五號計劃主持人的張和本博士停了3秒， the way in which the teams involved pooled their knowledge and
constantly strove to overcome challenges. (photo by Lin Min-hsuan)
說：「那一刻，我內心真是充滿了感動。」
第一顆自主研發製造的衛星
台灣1994年決定開始發展衛星，由於沒有基測儀」，也是中央大學太空科學研究所累積20年
礎，福衛一號至三號都是以國際合作的方式，委經驗，所研製可以量測電離層電漿參數的科學儀
託美、英、法等國代為設計、製作衛星的元件與器，能夠預測地震前可能的異常現象。
次級系統，再組裝成衛星。換句話說，是以「發
從無到有，累積能量
包」的方式找歐美公司代工。
唯獨福衛五號由台灣國家太空中心以福衛二台灣自主研發衛星的路程，從計劃主持人張和
號為藍本，從頭設定規格與需求，再結合產、學本身上，可以看出從無到有的軌跡。
五十多個團隊進行研發與製作。張和本說，福衛五號是一棒接一棒經驗累積下
福衛五號寫下很多個第一的紀錄。衛星本體部來的成果。1994年台灣委託製作間碟衛星翹楚的
分，有第一個台灣人製作的衛星電腦，第一個自美國TRW公司，製作福衛一號，需要有本國專家
行編寫的衛星飛行軟體和第一個自行配置的電力參與，當時還是國家太空計劃籌備處主任戎凱四
控制與配置單元。福衛五號二項主要的酬載（放處挖角，拜託在美國馬歇爾太空飛行中心工作的
在衛星上的科學儀器），一是光學遙測酬載儀張和本回來參與。
器（RSI），其中CMOS光學感測器是台灣自製與TRW公司的合約中，技術移轉的部份，包括
的，這其中結合了許多電機、機械、結構、光學送廿多位台灣工程師到美國TRW受訓2年半，就
等領域的關鍵元件。另一項酬載「先進電離層探由張和本帶頭當領隊。

launch. Its second contact, also with a Norwegian ground
station, came at 100 minutes. But Formosat-5’s orbital in-
clination meant that it was 400 minutes after launch time
when Taiwan received its first signals from the satellite.
“I was at the launch facility in the US, and heard
the cheers from the Taiwan receiving station over the
phone,” says C
hang Ho-pen, who has been the Formo-
sat-5 project director since the program’s inception. He
pauses a few seconds, then adds: “In that moment, I was
filled with emotion.”
Developed and produced in Taiwan
Taiwan made the decision to begin developing
satellites in 1994. Without a background in the field,
we sought out international partners for Formosat-1
through Formosat-3. We worked with the US, the UK
and France to design and manufacture the components
and secondary systems, then assemble the satellites.
Basically, Taiwan solicited bids and then contracted out
the work to companies in the US and Europe.
The process changed with the Formosat-5 project,
which Taiwan’s National Space Organization managed
from start to finish. The NSPO based Formosat-5 on
Formosat-2, drawing up the project’s specifications and
parameters, then pulling together more than 50 teams
from industry and academia to handle development
and production.
Formosat-5 achieved a number of firsts for Taiwan.
The satellite itself includes Taiwan’s first self-produced
onboard satellite computer, onboard flight software,
and power control and distribution unit (PCDU). The
satellite also carries two primary payloads. The first is a
remote sensing instrument with a CMOS image sensor
that was manufactured in Taiwan utilizing components
that integrate technologies from a variety of fields, in-
cluding optics, electronics and mechanical engineering.
The second is an advanced ionospheric probe. Devel-
oped and produced by the Graduate Institute of Space
Science at National Central University drawing on its
福衛五號經由國家太空中心衛星整測廠房一連串的「震動
測試」、「模擬太空真空艙」等測試。整測廠房未來可以
接訂單，為其他國家製造的衛星進行模擬測試。
The National Space Office Satellite Integration and Test
Building’s vibration and thermal-vacuum testing helped
make Formosat-5 a success. The NSPO hopes to accept
commissions to test other nation’s satellites in the future.
77
「話說是技術轉移，但仍有人家不願讓你知道為了撰寫福衛五號計劃，於是已在美國波音
的技術，例如部份元件會在別的廠房製作，我鼓公司上班12年的張和本再度被挖角，但回台灣的
勵工程師盡量挖，很多know-how靠著向對方發薪水不到波音的一半。談到2009年初回來時的考
問，自己揣摩領悟。」張和本要求每人每月都要量，張和本現在回想起來仍說：「真是不容易，
寫一本技術報告，當初參與福衛一號訓練的工程因為剛好遇到2008年美國因為信貸危機爆發全球
師與專家，其中有10位成為現在太空中心研製福經濟不景氣，原本想應該繼續留在波音公司，才
衛五號的基本班底，廿多本技術報告則成為解決能有更好的退休生活。」
問題重要的「參考書。」但是，年邁雙親的呼喚戰勝了對金錢的掙扎，
「畢竟台灣是我的『家』，我的爸爸媽媽今年92
自主研發，勇敢走出來
歲了，住在台北，因為在台灣，我經常都可以去
福衛一號到三號，唯獨沒有四號，原來張和看他們。」張和本笑著說。
本回國前一年，正是國家太空中心士氣最低迷之
眾志成城，解決困難
時。由於「ARGO」衛星採購計劃的得標廠商出
現問題，最後國家太空中心不得不與廠商解約，自主研發說得容易，6年走來，研發團隊所遇到
導致衛星發展計劃停滯，甚至出現是否裁撤太空的難題與挑戰不計其數。張和本舉例說，如何將直
中心的聲音。不想受制外國廠商，「自主研發」徑45公分、重達10公斤的鏡片，裝在遙測酬載的結
成為國家太空中心不得不走的路。
還有許多太空科技的元件，例如黑白解析度
福衛五號每兩日通過台灣上空一次，取像範圍涵蓋全球，
達30公分的鏡頭屬於軍事等級，是管制輸出的項
由衛星任務操作控制中心接收資訊。
目，就是有錢想買也買不到。台灣想突破，不想 Formosat-5 passes over Taiwan every other day, enabling
the satellite operations control center to download images the
跟在人家後面，唯有自主研發。 satellite has captured from all over the globe.

20 years of experience in the field, the probe is de-
signed to measure ionospheric plasma and may
detect anomalies occurring prior to earthquakes.
Our own R&D
Chang Ho-pen returned to Taiwan in 2009.
NSPO morale had reached a nadir in the previ-
ous year, when problems with a contractor forced
the organization to terminate its ARGO satellite
project. The decision brought Taiwan’s satellite
development program to a halt and led to ques-
tions about whether the NSPO itself should be
scrapped. Unable to depend on foreign contrac-
tors, the NSPO had little choice but to pursue its
own research and development.
Further supporting that decision was the fact
that many space-related technologies, such as
30-centimeter-resolution black-and-white optics,
are military grade and therefore export-controlled
items that are unavailable for purchase. If Taiwan
wanted to acquire better technology, it would have
to develop it itself.
79
構體上，涉及光學與機械的結合。書本有說可以用
「鎖的」或是用「黏」的，但沒有說怎麼鎖、怎麼
黏？又要克服在外太空環境下，黏上去的鏡片不會
退化、變形的問題！太空中心十多人組成的團隊，
花了半年時間，終於克服這個問題。
又像對光學遙測酬載儀器進行壽命測試，每次
經由外太空環境的測試，纏繞的金線都翹起來，
經過多次失敗與實驗，終於找出使用比純度99.99
還要再純的金線，才能「真金不怕火煉」地通過
試煉。
張和本說：「團隊就是一個一個解決問題，我
們找出來的解決辦法，可能不是最好，但是發現
我們遇到任何問題，都可以一一解決，就像三個
臭皮匠勝過一個諸葛亮這句話。」台灣太空科技
的研發能量就這樣一一累積起來。
考驗不斷
其實，發射成功的喜悅並沒有持續多久，工作
團隊發現，福衛五號繞第二圈後傳來的數據「怪
怪的」、「好像出了問題。」
張和本稱福衛五號為「我們的衛星」，他說：福衛五號有很多個台灣人自行研製的元件：衛星電腦、
CMOS光學感測器晶片。（林旻萱攝）
「我們的衛星會自己調整角度朝向面對太陽的方 Formosat-5 includes a number of components developed and
位來發電」，但升空100分鐘後卻發現福衛五號 manufactured in Taiwan, including the onboard computer and
the CMOS imaging sensor. (photos by Lin Min-hsuan)
電力一直掉，甚至啟動自我保護的休眠模式。
國家太空中心團隊原本歡欣鼓舞的心情也跟
著掉至谷底，副主任余憲政知道後眼淚更是掉了的，因此軟體工程師靠著修正程式，把兩組正
下來。因為一旦福衛五號無法感測到太陽自行發確的電線接回去。4個輪子，就是4次階乘（4！
電，就「任務結束」，也就「一切都結束了。」 =4×3×2×1＝24），有24種不同組合方式，工
由於福衛五號每99分鐘繞行地球一周，操控團程師發現問題後，從地面模擬24種情形，根據原
隊索性不回家，留在太空中心，不眠不休地跟著來的電線連接圖，想辦法從地面『修理』它。」
福衛五號，每99分鐘一次，解讀衛星傳回來的資解決後，操控團隊告訴張和本：「經過這次的
訊，試著找出問題所在。團隊苦中作樂說，「那考驗，以後再怎麼難的問題都不怕了。」
時候衛星一直睡覺，我們都沒睡覺。」美國第一個繞行地球的太空人約翰．格倫曾
「3天後我從美國回台灣，他們就告訴我找說：「真正的英雄是面對困難障礙，在放棄之
出問題了。」張和本如今可以侃侃而談，「原前，再嘗試最後一次的人。」福衛五號上太空，
來衛星的4個反應輪，其中有2組的電線錯置，證明台灣太空科技實力經得起考驗。
導致我們的衛星回到最後的保護模式（phoenix
守護台灣，科技外交
mode），是我們參照福衛三號的設計改良，讓衛
星遇到問題時自行啟動保護模式。」沒有想到，福衛五號2017年9月7日傳回的首批
張和本說，「我覺得我們的團隊很厲害，因影像又出現光斑與模糊問題。太空中心的專家學
為衛星的飛行軟體每一行程式都是我們自己寫者不斷測試，採用溫度調控及地面回溯修正等方

Challenge upon challenge which caused our satellite to return to
While the NSPO was thrilled with the successful launch its ‘phoenix’ mode. This is a protective
of Formosat-5, their joy didn’t last. The data the satellite sent mode that the satellite puts itself into
after its second orbit indicated that the satellite was experi- when it encounters a problem. We bor-
encing difficulties. rowed it from Formosat-3’s design.”
Chang is in the habit of calling Formosat-5 “our satellite.” Chang says, “Our team is amazing.
He explains: “Our satellite adjusts its angle to the sun to Since we had written every line of the
generate electricity.” But just 100 minutes after its launch, the flight software ourselves, our software
NSPO team discovered that its power levels were dropping so engineers were able to look at the orig-
rapidly that the satellite had switched into its dormant mode. inal wiring diagram, find the cause of
When the team heard the news, their mood plummeted. the problem, and resolve the problem
NSPO deputy director-general Yu Shiann-jeng even wept, from the ground by rewriting the pro-
because if Formosat-5 couldn’t detect the sun to generate its gram to correctly control the two mis-
own power, the mission and the whole program were done. wired reaction wheels.”
“When I returned to Taiwan from the US three days later, Having solved the issue, the control
they told me they had found the problem. It turned out that team told him that the experience had
two of the satellite’s four reaction wheels had wiring issues, left them feeling as if they could take on
any problem, no matter how difficult.
John Glenn, the first American astro
naut to orbit the Earth, once said that
real heroes are people who, when faced
with a difficult obstacle, try one more
time before giving up. Formosat-5
demonstrated that Taiwan’s space tech-
nology is up to the test.
Technological diplomacy
But the Formosat-5 team had still
another challenge ahead of them. When
the satellite sent back its first images
on September 7, 2017, they were blurry
and dappled with light spots. NSPO ex-
perts ran test after test, and in Novem-
ber 2017 succeeded in improving the
satellite’s resolution to three meters for
black-and-white images and five meters
for color images through a combination
of temperature adjustments and a tech-
nique called deconvolution.
新上任的國家太空中心主任林俊良銜命
規劃從2019年開始第三期的國家太空科
技發展計劃。（林旻萱攝）
New NSPO director-general Lin Chun-liang is
planning the third stage of the national space
technology development program, which
will start in 2019. (photo by Lin Min-hsuan)
81
式調校，去年11月照片解析度已提升至黑白3米、位於新竹科學園區的遙測影像資料接收站。
The NSPO’s receiving station for remote-sensing image
彩色5米的水準。 data is in the Hsinchu Science Park.
福衛五號發射半年來累積拍攝了2,300組影像，
以及成功執行全球電離層觀測，可以提供給國際
救援組織與各國政府在防災勘災、國土安全、環將研發更具前瞻性衛星的技術，並且進行跨出地
境監控上使用，成為科技外交的「大使」。球、繞行月球或是火星的探索；更重要的是，全
今（2018）年2月6日晚間發生的花蓮地震，福衛世界都是朝向衛星商業化發展的趨勢在走，未來
五號已經發揮功能，提供災前災後的山坡地大面積也希望台灣能將卅年所累積自主研發的技術擴展
照片比對，哪邊可能發生崩塌，哪些地方產生變異到產業界，帶動民間產業的發展，甚至進一步形
的重要勘災資訊，是守護台灣的重要幫手。成太空產業鏈，布建太空產業園區。」
太空科技對一個國家來說，是以和平方式展現
新的里程碑
的國家實力。林俊良語重心長地說：「台灣雖然是
福衛五號自主研發的成功，讓台灣站上另一個小國，與其他大國投入太空科技的人力與經費是天
關鍵的立基點。同時福衛七號已完成測試，計劃壤之別，但台灣在世界半導體的領先能量與太空產
今年6至8月發射上太空，替為期10年的第二期太業的研發能力，可以特別聚焦在關鍵的『組件』、
空計劃畫上句點。『模組』與『系統』製造上，形成具有台灣特色的
今年2月甫上任的國家太空中心主任林俊良指太空產業，讓其他國家可以向台灣購買。」
出：「我的任務就是規劃從2019年開始第三期的太空夢過去只專屬於美蘇等大國，福衛五號成
國家太空科技發展計劃。」功地證明台灣現在也有這個能力，太空夢不再遙
林俊良胸有成竹地說：「下一個10年，台灣不可及。 l

Over the last six months, the satellite has
captured 2,300 sets of images and taken iono
spheric measurements that can be offered to
governments and international aid organiza-
tions, functioning as a sort of “technological
ambassador” that assists with disaster pre-
vention, national security, and environmental
monitoring.
The satellite showed what it is capable of
after an earthquake struck Hualien on Febru-
ary 6, 2018. By comparing its pre- and post-
quake photos of mountain areas, the relief ef-
fort was able to identify changes to the terrain
and the locations of possible landslides. Such
data is invaluable to researchers and can help
protect Taiwan in the event of future disasters.
A new milestone
The successful development of Taiwan’s
Formosat-5 has gained us a crucial foothold
in space technology, and now the NSPO has
completed its testing of Formosat-7, a collab-
oration with the US’s National Oceanic and
Atmos pheric Administration (NOAA) that
will collect weather data. Formosat-7 is sched-
uled to launch between June and August 2018
and will bring the second ten-year phase of
Taiwan’s space program to a close.
Lin Chun-l iang, who became director-
general of the NSPO in February 2018, says:
“My mission is to plan out the third phase of
the national space technology development
program, which will begin in 2019.”
He explains: “Over the next ten years, Tai-
wan will develop still more forward-looking
satellite technologies. We will also move be-
yond the Earth with orbital explorations of the says, “Taiwan may be small and can’t throw nearly the man-
Moon or Mars. With the global trend towards power or money that larger countries can into space technol-
commercialization of satellite development, we ogy. But we can create a space industry appropriate to Taiwan
hope to extend Taiwan’s 30 years of accumu- by focusing our space technology R&D skills and world-lead-
lated R&D into the commercial sphere to drive ing semiconductor capabilities on the production of key as-
private-sector development, the formation of a semblies and allowing other countries to buy them from us.”
space industry production chain, and the estab- Access to space used to be limited to the likes of the US and
lishment of a space technology industrial park.” the Soviet Union, but now the success of Formosat-5 has shown
Space technology represents a peaceful that Taiwan too has the capability to reach for the stars. l
means of developing a country’s national (Esther Tseng/photos courtesy of NSPO/
power. Lin speaks from the heart when he tr. by Scott Williams)
83
島嶼行旅　AROUND TAIWAN
揭開人情、風土、時代的窗景
Traditional Grocery Stores
—A Window on a More Personal Age
曾國祥提供 courtesy of Wing Tseng

文•蘇俐穎　圖•莊坤儒　版面設計•王敬勛
曾經，雜貨店是台灣庶民生活的重要場域，如今，
卻象徵傳統社會最末的一抹餘暉。以服務鄉里為最高經
營準則的雜貨店，無不是從風土裡長出的產物，除了基
本的菸酒米鹽、零食玩具，兼賣冰品涼水、南北乾貨、
拜拜用品，還可賒帳、代收郵件，功能因地制宜。
在這個被生活什物環繞的空間裡，訊息在閒話家常
中逐步傳開，人間劇場上戲下戲不斷，老闆顧客都是演
員。往事漸行漸遠，曾在童年時期參與過雜貨業鼎盛時
期的六年級生，眼見雜貨店逐步式微，竟不約而同起身
召喚記憶，想捕捉雜貨店的最後一幀剪影。
C orner grocery stores once played an important role in

the everyday lives of people in Taiwan. Today they are
the last vestiges of vanishing traditional society. They arose
to meet the needs of local communities, and place a high
value on serving those communities. Their wares
included cigarettes, alcohol, rice, salt, snacks and
toys. They also sold frozen goods, cold drinks,
dried foodstuffs, and objects needed for religious
rituals. They also extended credit to customers
and provided postal services.
Amid the sundries, local news also spread
through the chitchat of the store’s custom-
ers. The store’s owner and the customers all
played a role in this ever-changing drama
of life. Some kids born in the 1970s who
helped out in their families’ corner
stores witnessed the heyday of such
stores during their childhoods and then
watched this world fade away before
their eyes. They have set out to capture
the vanishing world by summoning the
memories of their youth.
阮光民繪 art by Ruan Guang-min
85
漫畫家阮光民以阿公家開的「用九商店」作為的存續作為主線，重點放在描寫小人物的互動，
故事原型，創作青年漫畫《用九柑仔店》；插畫以及各自面對的生存處境，在疏淡的節奏裡暖意
家徐銘宏的圖文書《畫說寶春姐的雜貨店》，揭源源不絕地湧現，與雜貨店的精神相互輝映。
露與自家「隆興商店」之間的愛恨情仇；記者林至於，以第一人稱的散文體寫下《畫說寶春姐
欣誼、攝影師曾國祥夫妻檔合著《老雜時代》，的雜貨店》的徐銘宏，談起自家經營超過一甲子
一人執筆、一人掌鏡，為32間雜貨店寫下各自的的老店，心境卻截然不同。他坦白地說：「對我
身世故事。他們或以文字、以圖像，由個人的回來說，雜貨店就是一直存在，也一直不斷被它所
憶出發，夾揉沿路見聞、想像與思考，重新復刻困擾。」
老雜盛世。由於從高中時期就離鄉背井，到都市工作、求
學，曾兩次回鄉幫忙，希望把現代化的經營模式
懷舊以外，最美是人情
實行在自家的店，卻跟家人鬧得不歡而散，直到
論便利、效率、整齊，雜貨店都無法與便利商第三次回家幫忙，心境才逐步轉變。他回憶著：
店爭勝，但唯獨濃厚的人情味，折服所有人。這「當我決定不要先入為主去認定怎樣是對的，順
個特點，不僅發生在老闆與客人之間，也深深感著爸媽的節奏做事，就可以漸漸感受到店裡可愛
染了作者，且或隱或顯地表現在作品裡。的地方，就是人情味這件事。我覺得，這就是我
阮光民的作品，一向展現對小人物的關懷，加爸媽堅持要做這間店的原因。」
上他偏好創作青年漫畫，而非以格鬥劇情為主的
少年漫畫，好比日本漫畫家谷口治郎、弘兼憲史
的作品，藉故事演述人際關係、探討人生哲理，
《用九柑仔店》即將翻拍電視劇，
又因著小時在阿公雜貨店裡生活、幫忙的經歷，
開台灣漫畫跨界影視應用的先鋒。（阮光民繪）
因緣俱足之下，讓他選擇以雜貨店的主題，畫下 Ruan Guang-min’s Yong-jiu Grocery Store is being made into
a TV series, a cross-media success for Taiwanese comics.
了《用九柑仔店》。故事以傳統雜貨店在現代社會 (art by Ruan Guang-min)

Comic-book author Ruan Guang-min created Yong- 阮光民的《用九柑仔店》為他贏來金漫獎的殊榮，
jiu Grocery Store, a series based on his grandfather ’s 並且將版權輸出至法國。
Ruan Guang-min’s Yong-jiu Grocery Store Vol.1:
corner store. Illustrator Hsu Ming-hung took up the Leave a Light On won two awards at the 2017 Golden
Comics Awards. Overseas publication rights have
subject in Baochun’s Grocery, which explores the ups and been licensed to a French company.
downs of a family grocery. Lin Hsin-yi, a journalist, and
her husband Wing Tseng, a photographer, compiled The
Good Old Groceries, which records the stories of 32 tra-
ditional grocery stores in pictures and words. Through
text, images, and personal memories, they conjure up life. His experience working in his grandpa’s corner
the golden age of the corner grocery. store led to the creation of Yong-jiu Grocery Store. The
The comfort of the familiar story examines the corner store’s struggle for survival
In terms of convenience, efficiency and orderliness, in the modern society. He focuses on the interactions of
the corner store is no match for the modern conveni ordinary people and how they navigate everyday life.
ence store. But its charm lies in the warmth of its Through the humdrum rhythm of daily life emerges
atmosphere. This unique aspect is evident in the rela- the comforting warmth of familiarity that reflects the
tionships between owner and customers. That human essence of the corner store.
warmth also permeates the artistic representations of Hsu Ming-hung, who wrote Baoc hun’s Grocery in
the world of the corner store. first-person prose, has quite another opinion when he
Ruan Guang-min’s work is marked by a concern for talks about his family’s grocery, which has been open
the lives of regular people, and he prefers to tell stories for more than 60 years. “For me the store is a constant
through comics designed for young readers. His stories in my life, even with the difficulties that has brought,”
depict human relations and explore attitudes toward he says candidly.
87
調整好心情以後，他開始著手記錄店中發生的徐銘宏（左）與他的奶奶莊寶春（右）。從18歲就開始
經營雜貨業的奶奶，如今已90歲，本身就是一部活歷史。
點滴：無論怎樣常見的商品，都只要到他們店裡購 Hsu Ming-hung with Zhuang Baochun, his grandmother. She
began to work in the family grocery store at the age of 18 and
買的死忠客人；因為一個客人說不清楚名目的商 at 90 she is a living part of history.
品，全店員工總動員一起猜想；為了讓賣菜歐巴桑
的籃子輕一點，母親一口氣買下對方挑來的所有的
菜……傳統雜貨店最根本的互助精神，都在一個個
如實紀錄的故事中具體傳達出來，而對家人的齟齬言，仍能察覺到作者對雜貨店的款款深情。
與悔意，也在真情流露裡逐一被包容了。林欣誼說，這一趟為期一年多，與先生、兒子
像這樣的掙扎過程，並非個案。對於記者出身一起上路的採訪旅程，往往沒有事先告知，就直
的林欣誼來說，由於長年習慣採用不涉入個人情闖入店，對著店家問東問西，雖然唐突，仍遇到
感、立場的報導寫作模式，究竟要以何種角度寫不少熱情相挺的老闆，「他們不僅敞開家門，也
作，令她著實經歷過一番掙扎。從最早想以絕對敞開心門。有一次我們忙著聊天，小孩沒事做，
客觀、冷派的方式來書寫，卻因為太過拘謹，無採訪完，居然小孩都被餵完一碗飯了，實在揪甘
法順利發揮，歷經多次重寫，最後調整成以描述心！」也許因為如此，每篇文章收尾之際，寥寥
具體事件為優先，偶爾出現作者的身影。數筆忽地傳遞出作者的聲音，儼然像一名說書人
雖然乍看《老雜時代》，一如林欣誼所期望到了最後，再也無法壓抑感情，真情流露。
的，沒有帶入太多個人成分，但只要稍微細讀，曾國祥則補充道，作為商業攝影師的他，打從
猶如紀錄片一般細描慢繪的視角，以及溫潤的語一開始，就決定把這本書當成工作之餘的抒壓管

Hsu left his hometown to study and work in an urban At first glance, The Good Old Groceries gives the impres-
area after high school, but occasionally returned home to sion that Lin succeeded in avoiding personal commentary
help out in the store. On his first two trips home, he tried in the work. But just as the perspective of a documentary
to convince his family to adopt more modern methods to filmmaker becomes apparent during the telling of the
run the shop, but this just led to endless arguing. On his story, Lin’s affection for her subject is revealed through
third trip back, his attitude began to change. “I decided her loving descriptions.
to stop being so stubborn, and as I fell in with my par- He husband, Wing Tseng, says he decided to depart
ents’ rhythms, I slowly discovered that the charm of the from his commercial photography techniques and adopt a
place was the human warmth,” Hsu says. “And that’s new style for this book project, which he treated as a relax-
exactly why my parents continued running the place.” ing pastime. He avoided professional lighting, using only
After this change of heart, Hsu began to record daily natural light and capturing his subjects in spontaneous
life in the shop in a journal. Through these stories he real photos. The portraits in the book reveal subjects who stare
ized that the vitality of the shop arose from the family’s directly into the lens, rather than profile shots taken from
willingness to help others. This caring atmosphere also a distance. The candid expressions of the shopkeepers
broke down his misgivings about his family and made reveal the warmth they feel for their customers, and the
him more tolerant. pictures complement the stories told in the text.
Others experienced a similarly complicated process
in understanding the traditional groceries. Journalist Lin
Hsin-yi struggled to adopt a more personal approach in
her writing after spending years reporting from an ob-
jective standpoint. She initially set out to record the life
of the traditional stores objectively and dispassionately.
不同於平日工作時以電腦彩繪，徐銘宏選擇以6B鉛筆繪畫，
But the restrictive approach proved difficult. After many 樸實的筆觸反映出他心中的雜貨店風景。
drafts, she decided to give priority to describing specific Hsu Ming-hung usually draws in color on a computer, but when
he turns to capturing his memories of the simple charm of the
events, but occasionally letting the author’s voice emerge. traditional grocery he uses a 6B graphite pencil.
89
道，因此，他刻意迴避商業攝影慣
用的打燈拍法，全數採自然光、快
拍的方式完成，細看書中寫真，人
物大多都直視鏡頭，而非保持距離
的側拍，毫不迴避的目光，似乎意
味著老店的服務熱忱，也與文字相
輔相成了。
走讀台灣百年庶民生活史
創作的動機，往往再單純不過。
就像阮光民說：「漫畫家應該是像
橋梁的角色，把你知道的、經過的
事情畫下來，也許後輩沒有人知道
柑仔店是什麼，就可以透過這部作
品，知道當時的情況。」徐銘宏則
說：「當時，只是想把家裡的故事
記錄下來，以後小孩、子孫可以
看，讓他們可以知道家族曾經發生
的故事。」曾國祥說：「想到百年
以後有人在圖書館裡找到這本書，
知道這些事情，那就夠了。」
這些不約而同的想法，似乎暗示
著，雜貨店是人們回憶裡共同的亮
點。阮光民分享道，《用九柑仔
店》已被三立電視台買下版權，即
將翻拍成電視劇，而從漫畫家、導
演、製作人，居然都有著家中開雜曾國祥（左）與林欣誼（右）雖沒有家裡開雜貨店的經歷，
但憑著對雜貨店的美好回憶，一同完成《老雜時代》。
貨店的背景。這也難怪，台灣傳統 Although neither Wing Tseng (left) nor Lin Hsin-yi (right) grew up
in a family with a traditional grocery store, their good memories
的雜貨業盛極於1950∼1980年之 of these shops led to The Good Old Groceries.
間，而在過去交通不便的時代，大
多時候都以步行為主，雜貨店的密
度，理當會比現在便利商店的密度
還來得更高，根據徐銘宏父親的回索，探訪台灣的大小鄉鎮、漁村、客庄、眷村、
憶，在1950年代左右，光在桃園龍部落、礦區……一路走訪，卻意外考掘出台灣不
潭隆興商店所在的龍元路、東龍路同地區、不同族群的歷史切面。
路口，便聚集了5家雜貨店，數量好比位於宜蘭澳花的伊凡商店，掌櫃的泰雅媽
驚人。媽以邵（Isaw），與同輩的族人交談時，竟都是流
1980年以後，傳統的雜貨店開利的日語，原來是因為族人曾受日本人的高壓統
始被新型的便利商店所取代，為了治，戰後才出生的他們，從小就習慣和爸媽用日語
尋找這些碩果僅存的老店家，林欣溝通，反倒是族語只會聽、不大會說，近年才因為
誼、曾國祥兩人以縝密的地毯式搜注重母語教學的緣故，跟著孫子輩一起學習。

（上圖）雜貨店是鄉間物資與消息的集散地，
開放的性質意外成為外人探索當地的入口。（曾國祥提供）
Traditional grocery shops are centers of both resources and
information, and their welcoming atmosphere makes them a
good starting point for visitors wanting to explore a locality.
(courtesy of Wing Tseng)
The authors’ common sentiments indicate that the

traditional groceries are a bright spot in the shared mem-
ory of the community. In the 1980s, after modern con
venience stores began to replace the traditional groceries,
Lin and T
seng scoured old communities to seek out the
last of the traditional stores. They visited towns and
villages large and small, fishing communities, Hakka
townships, old military housing complexes, Aboriginal
villages, and mining areas. Along the way they discov-
Timeless tales of the people ered a cross-section of regional and communal history.
The artists and authors often find quite “From the historical perspective,” says Tseng, “dif-
simple sources of inspiration. “A comic-book ferences become visible in the customs and practices of
artist acts as a bridge,” says Ruan Guang-min. Taiwan’s various communities—old-established Chi-
“I draw the things I know and have experi- nese immigrants, Chinese who came after World War II,
enced. In the future if someone doesn’t know Hakka communities, and Aborigines.”
what a traditional grocery was like, they can Although it lacks the long history of an ancient civil
learn about it from my book.” ization, Taiwan has experienced intense and dramatic
Hsu Ming-hung also had posterity in mind. changes in governance over the past century, resulting
“At first I just wanted to jot down the history in pronounced differences among various communal
of the shop so that my kids and grandk ids histories. By studying the traditional grocery stores,
would know the stories of the family busi- one can also glimpse the trajectory of these political,
ness,” he says. economic, and social changes. Although Lin and Tseng
Wing T
seng expresses a similar sentiment. didn’t set out to explore this aspect of the groceries,
“I will be more than satisfied if in a hundred they have provided a deeper layer of historical signifi-
years people can find our book in the library cance through a work intended only to provide a docu-
and learn about this part of history,” he says. mentary record and nostalgia for the old stores.
91
台中大里，從日治時期就開業的楊勝昌商店，不過，物資的交換與交易，由於攸關著民生大
日治時期由於罕見競爭對手，生意一支獨秀；計，不管環境怎樣變化，需求從來不曾減少過。
1950∼1960年間，大里的鹹菜業起飛，由於實施食林欣誼、曾國祥說：「人人心中都有一間雜貨
鹽專賣制度，店中生意大好，光倉庫裡就囤了約店。」雖然傳統雜貨店風光不再，但時下正風行
3,000公斤的鹽，好因應鹹菜製作的需求；1980年販售特色農友、小型醬廠產品的「選物店」，或
代，因為五金、製鞋等輕工業發展，再度邁向鼎者複合餐飲服務，兼售書籍、食材的獨立書店，
盛。店的生意起伏就緊貼著當地產業的發展史。都是雜貨店的另一種型態變化；或者也有像邀約
曾國祥說：「站在歷史的線上一刀劃過去，本《老雜時代》到店座談的「新村小商號」，主打
省的、外省的、客家的、原住民的，大家都在做不裸賣的食材，以及非塑膠製的生活用品，為雜貨
一樣的事。」雖然沒有文明古國的大江大海，但店拓展出新貌。
小小的島嶼，在短短百年之間，歷經多次政權的不管腳步怎樣往前，日子總踏實地過，以人為
更迭，高壓、高密度的歷史層次，淬鍊出了這些本，是文武百業誕生的起點，也是雜貨店的精神
精采細膩的人民生活小史，站在雜貨店的窗口，所在，這些店家，就在日常裡持續為我們服務，
竟能看見政治、經濟與人民生活變化的軌跡，這樣不曾熄燈。 l
無心插柳的收穫，是兩人原本沒有預期到的。
而在他們悉心地採拾之下，這些本來就要在時
光洪流中灰飛湮滅的動人故事，竟就彼此聯綴，
最終成就了一張斑斕織錦，而這也許是除了記
錄、懷舊之餘，雜貨店所為讀者帶來的更深一層
的意義吧。
人人心中都有一間雜貨店
如果說，《老雜時代》為讀者打開文史的角
度，那麼，虛構的《用九柑仔店》，則點明了現
實面的經營的問題。
事實上，正好站在傳統與現代交替時刻的六年
級生，面對於雜貨店邁向消亡的必然，反倒顯得意
外地灑脫。林欣誼說：「每個年代都會因為自己的
物質條件、美感經驗，發展出自己的樣子。」就
像過去的雜貨店，1990年代後興起的誠品書店，
乃至現在的獨立書店……都是時代珍貴的顯影。
預計會在今年完結的《用九柑仔店》，故事
講述主角因為阿公生病之後，回到故鄉接手雜貨
店生意所發生的點滴，除了角色的細膩互動引人
共鳴，隨著劇情推展，不免也讓讀者為雜貨店未
來的去向感到擔憂。阮光民笑著說，就連出版
社編輯都希望他能為雜貨店的未來找到出路，
「但我覺得沒辦法。」他坦率地表示：「畢竟我
也沒辦法違背現實狀況，去虛構它打敗現代潮流
什麼的，我的收尾方式就是，『日子就是這樣過
啊！』」

The heart of the neighborhood develop their own style based on their
If The Good Old Groceries provides read- material circumstances and their aesthetic
ers with a historical perspective, the fic- experience,” Lin Hsin-yi says.
tional Yong-jiu Grocery Store takes a look at The final installment of the Yong-jiu
the struggles of running such a shop. Grocery Store series is slated to be pub-
In fact, the protagonist, witnessing lished this year. In the story, the main
the changing times, seems surprisingly character returns to his hometown and
relaxed about the inevitable dying out of helps his grandfather, who has become too
traditional groceries. “In every age people ill to run the family shop. The interaction
between the characters is meticulously
rendered and resonates with readers, even
as concern over the inevitable waning of
位於桃園平鎮的晴耕雨讀小書院，是書店， the traditional shop helps drive the plot.
也是在地人交流的平台，猶如昔日的雜貨店。 “I couldn’t ignore the realities and make
Lifestyle Bookstore, located in Taoyuan’s Pingzhen
District, is both a bookstore and a place for locals to it seem like the shop would triumph over
mingle, as they used to in neighborhood groceries. the prevailing trends” Ruan Guang- min
says frankly. “My attitude in approaching
the ending was simply to admit that that’s
just how things go.”
Consumers have an unwavering de-
mand to do their daily shopping, no matter
how times change. It might no longer be a
great age for the traditional grocery store,
but growing demand for specialized agri
cultural and artisanal products, such as
small-batch soy sauces, has led to the rise
of specialty stores. Food and beverages
are now sold in some neighborhood shops
and there is a vogue for independent book-
stores that offer drinks and snacks. These
are all offshoots of the corner grocery. The
New Village Grocery, a specialty shop in
Hsinchu which hosted a book event for The
Good Old Groceries, sells unpackaged food-
stuffs and non-plastic housewares. It too is
a new take on the traditional grocery.
No matter how times change, enter-
prises succeed when they don’t forget the
people they serve. This is also the essence
of the traditional grocery store. These
shopkeepers persist in meeting the daily
needs of their customers and continue to
dance to the music of time. l
(Lynn Su/photos by Chuang Kung-ju/
tr. by Robert Green)
93
藝文脈絡　CULTURAL TRENDS
雕出台灣魂 —— 李光裕
讓世界看見空靈的生命美學
Sculpting a Taiwanese Soul
—Lee Kuang-yu
文•李珊瑋　圖•采泥藝術提供　版面設計•胡如瑜

藝術的生命，就在於矛盾的張力。藝術家的工作，是能夠清明的穿
透對立，圓融契合。享譽國際的雕塑大師李光裕，以爐火純青的深厚底
蘊，遊藝在虛實之間。信手捻來，春色自成。
出生高雄的李光裕，汲取本土豐滿的民俗養份，揮舞出獨特的東方人
文。用靈動的藝術語彙，成就台灣風情。有無之際，驚艷國際，讓世界
看見寶島綿延無盡的軟實力。
V itality in art lies in the tension of contradictions. The job of an artist is to

clearly and soberly penetrate oppositions and resolve them harmoniously.
The internationally known sculptor Lee Kuang-yu applies his consummate skill to
explore the interplay between solidity and space, creating with fluent confidence.
Lee, born in Kaohsiung, has drawn sustenance from the rich local culture, and
brandishes a unique Asian humanism. Using a dynamic artistic vocabulary, he
has achieved a Taiwanese style. His solo exhibition “To Have and Have Not” at
the 2017 Venice Biennale stunned the international community, showcasing the
power of Taiwanese art to the world.
The winding and precipitous mountain road rapidly casts the chaos of the urban
streetscape to the back of the mind. After a brief ten minutes or so, we see only
limitless greenery and drifting mountain mists. Lee Kuang-yu, clad in denim work
clothes, stands outside his six-meter-tall workshop and greets us with a smile.
95
做出來的。」把大自然當成載體，景隨
遠離塵囂的桃花源
路轉，意伴境移。李光裕無數的雕塑作
蜿蜒陡峭的山路，瞬間把雜亂的市品，錯落其間，寂靜的表述天地有情。
景，拋諸腦後。短短十來分鐘，眼前只
父親的秘密
見碧綠無涯，山嵐飄動。李光裕一襲牛
仔布連身工作服，站在六米高的工作室「我能夠有今天，完全是因為父親深藏
前，笑臉相迎。一生的秘密。」李光裕回憶起在那個升學
佔地一甲餘的偌大庭園，一草一木，掛帥的年代，低迷的成績，從未受到父母
一階一池，都是李光裕歷時十數載，胼責備，反而鼎力支持他走上藝術之路。
手胝足的成果。「我希望打造一座屬於「父親在日治時期，以全校第一名
台灣的藝術家庭園，永世留存。」古意憨成績畢業，旋即被恩師帶到日本升學，
厚的笑顏下，有著不可動搖的堅毅。即並以第一名自東京高工畢業。」如錦前
以大威德金剛使投注畢生積蓄和心血，也在所不惜。程，正待開展，卻受到李光裕祖父的召
受文殊菩薩馴服
為喻，表述藝術中晨曦落日，俯仰其間，是李光裕無令，回台成婚。「徒具高級工程師的實
二元文化的均衡。
盡的創作養份。二葉松枝繁葉茂，頎偉力，卻任職國小美術老師，讓父親一生
Using the taming of
Yamantaka by Manjushri 兀立。杜鵑山茶，粉嫩鮮活，各顯風鬱鬱寡歡，有志難伸。」
as an allegory, Lee’s
work Majesty expresses 華。春雨霏霏間，細香悄然微度，落英以一個國小教員的薪資，養育7個孩
the balance of dualistic
culture in art. 無言繽紛。「這一切都是用我的想像力子，必然是節衣縮食。「但是父親從我

In the enormous garden, occupying more than a hectare 李光裕用豐滿的民俗養份，揮舞出獨特的東方人文。
of land, each blade of grass, each tree, each step, each pond, （林格立攝）
Lee Kuang-yu draws on elements of folk culture to evoke a unique
is the fruit of labor put in by Lee over ten-plus years. “I Oriental humanism. (photo by Jimmy Lin)
hope to create an artist’s garden for Taiwan, to last for eter-
nity.” Behind the straightforward smile there is an unshak-
able determination. Even if it means investing a lifetime of a benefactor to continue his studies. Later, he graduated
savings and effort, he will not hesitate to do so. first in his class from Tokyo Higher Technical School.” But
Dawn and dusk, the details of daily life, are inexhaustible despite having bright prospects, he was called back to Tai-
grist to Lee K
uang-yu’s creative mill. “All of these works are wan by Lee Kuang-yu’s grandfather to get married. “My
based on my imagination.” With nature as his canvas, count- father could have become a top-class engineer, but he ended
less numbers of Lee’s sculptures are scattered around the up working as a fine arts teacher in a primary school. This
garden, quietly expressing the love that is in all living things. depressed him and left him with unsatisfied ambitions.”
A father’s secret Raising seven children on a primary-school teacher’s
“The only reason I have what I have today is because of salary, money was naturally tight. “Yet from the time I was
a secret that my father kept for his entire life,” recalls Lee. in school, my father took me all over to find teachers to
“During the Japanese colonial era, my father graduated study art with. And my mother even borrowed money from
at the top of his class, and was soon after taken to Japan by neighbors to buy me xuan art paper.” Still at an innocent
97
國小起，就四處帶著我拜師習藝。母內心，一個始終默默地包容。那種凌遲
親更是為了我，不惜向鄰家借錢買宣般的痛楚，夜夜錐心難抑，卻仍要日日
紙。」懵懂的年歲，不明瞭父母親為什打起精神，維繫一家的生計。「因為太
麼這麼做？直到上初中時，無意間發覺苦了，所以他們不要我再重蹈覆轍。」
了父親的秘密。「他從日本歸來的學李光裕得以順遂的赴西班牙習藝，娶外
生，拿著一張紙條，一直向父親致歉，籍女子，離婚，再婚，父母都一路支
說沒有找到地址上的女孩。」父親絕望持。只是為了讓李光裕的人生，圓滿幸
失落的空洞眼神，近半世紀後，仍鐫刻福，不留遺憾。
在李光裕的心版。
防空洞裡的安寧
「母親辭世前，要我湊近她口邊，用
微弱的聲音告訴我，父親從來沒有愛過「我其實是一個很孤僻的人，防空
她。」這是一個讓李光裕震撼心痛的告洞是我的最愛。」站在一件有若山
白，卻也讓他積存心中的諸多疑問，幡洞的雕塑品前，李光裕打開了
然領悟。
數十年來，在禮教的束縛下，同居一
室的夫妻，各自隱忍。一個將至愛深藏

第57屆威尼斯雙年展中，李光裕《鬥牛》系列
作品，獲得世界級的肯定。
Lee won worldwide approbation for his “Bullfighting”
series, exhibited at the 2017 Venice Biennale.
age, he did not understand why his parents

did this. It was only when he was in middle
school that he discovered his father’s secret. “A
student returning from Japan came to see my
father, a piece of paper in his hands, and re-
peatedly apologized, saying he could not find
the girl at the given address.” The hopeless,
empty look in his father’s eyes is still engraved
in Lee’s mind even after nearly half a century.
“Before she died, my mother called me to
her side and in a faint voice told me that my
father had never loved her.” This was an ad-
mission that stunned and pained Lee, but also
suddenly answered many questions that had
built up in his mind.
For decades, under the restraints of the
code of social ethics, they had lived together
as husband and wife, suffering in silence. “It
was because this was so hard that they did not
want me to follow the same sorry path.”
Help along the way
“As a little kid, I was inspired by a teacher
who drew portraits.” “When I was in middle
school, Xu Shangwu taught me to paint birds
and flowers, and in high school I began to fo-
cus on calligraphy.” Facing the future, Lee laid
his foundations step by step. “To pass the exam
to enter the National Taiwan Academy of Arts,
I studied drawing, watercolors, and traditional
Chinese painting with Huang Guangnan.” At
that time Huang suggested that Lee pursue
sculpture. The orthodox education offered at
the National Taiwan Academy of Arts made
the school Lee’s sole preference, and sculpture
became his lifetime vocation.
“A lot of people have helped me in my life.”
His teacher Ren Zhaoming, who had studied in
Spain, encouraged him to continue his educa-
tion, and began teaching him Spanish from his
99
無人窺伺的心扉。鄉間的生活是自由放
縱的，當村童們集結喧嚷時，李光裕每
每喜歡將自己隱藏在防空洞裡，獨自享
受那份閒散和恬靜。「我覺得那種包
覆，讓我有安全感。」雖然小小年紀，
卻懂得如何沉靜，面對自我。
「但是我同時也是好奇寶寶。」李光
裕笑著說，他曾經追著消防車，上氣不
接下氣地跑過好幾條街，只為了享受瞭
解真相的快感。「我到現在還是沒有改
變追根究底的習性。」那種執著的好奇
心，伴隨著李光裕一生，也成就了他的
志業。
「藝術就是表現衝突的張力。」李光
裕靜若處子，動如脫兔的極端個性，正
是藝術家不可或缺的人格特質。
貴人一路扶持
「那時我還是小蘿蔔頭，由畫人像
的師父啟蒙。」小時候，李光裕經常跑不知道要看哪裡。」聖費南度皇家藝術
到高雄六合夜市買畫片，自己剪裁裝訂學院的課程非常緊湊，但是上了一整天
成冊，愛不釋手。父親察覺到孩子的天的課後，李光裕又接著到校外的素描教
賦，領著他到鄰人家，開始學習水彩。室，再臨摹3、4個小時，直到星斗高掛，
「初中時，許尚武老師正式教我畫花雙眼酸澀，才拖著疲憊的身軀回家，倒
鳥，高中開始專注書法。」面對未來，李頭就睡。「我就像海綿，不停地吸收。」
光裕一步一步札根。「為了報考藝專，就這麼孜孜矻矻，埋頭學習，打下了紮
跟隨黃光男老師學素描、水彩、國畫。」實的根基。這種拚命的習性，持續到回
當時黃光男建議李光裕走雕塑這條路，台任教，經常工作到徹夜不眠。
藝專設有正規的教學，成為李光裕唯一「那時候最怕放假，因為同學們都去
的志願，雕塑也成為他一生的志業。享受假期，我卻是到處打工。」父母竭
「人的一生，真的有許多貴人。」當盡全力籌措他的留學費用，只夠買一張
時留學西班牙的老師任兆明，鼓勵他繼單程機票，剩下的，全要靠李光裕自己
續升造，從一年級開始，就教他西班牙打拚。
文。留學西班牙的學長葉竹盛，更全力馬德里大學美術學院擁有當時歐洲
幫忙辦理入學申請，安排生活。「沒有最好的軟硬體，李光裕在此取得碩士學
他們的熱心幫忙，我是沒辦法順利出國位。「托雷多（Toledo）教授為我打下西
的。」民國67年，李光裕首次踏上異國方藝術的基礎，他不僅是經師，更是人
習藝之路。師。」李光裕談起恩師，眼神中流露出
「一個鄉下孩子，第一次出國，看到無盡的感恩。「他無時無刻不在學校，
歐洲雄偉的建築，美麗的花園，真像是不是在上課，就是在工作室。那種對藝
劉佬佬進了大觀園。左顧右盼，興奮地術一輩子的執著，影響了我的一生。」

Lee earned his master’s degree from there.
“Professor Francisco Toledo Sanchez laid a
foundation in Western art for me. He was a
teacher who not only imparted knowledge,
but cultivated character too.”
Misery breeds creativity
“I have unlimited misery in my heart, but I
transform it into fuel for creativity.” Abundant
feelings are no match for harsh reality, and
both of Lee’s marriages ended in divorce.
“Amica Rinpoche has enlightened me.” Not
only has Lee’s soul felt the impact of Tibetan
Buddhism, all his creative work has been ener-
gized. “Practicing Buddhism has enabled me
to become aware. Only by eliminating the self
and egotism can one transcend self and become
anatta [non-self].” As if opening up the concep-
tion and governor vessel meridians (concepts
of traditional Chinese medicine), he experi-
enced a sudden clarity of vision. Since then,
freshman year. An older schoolmate, Ye Zhu 《伏心》（Subduing）

cheng, who was studying in Spain at the time, 在美國紐約「可樂娜
公園」（Corona Park）
spared no effort to help Lee handle the applica- 地標「地球儀」
tion process and arrange his life there. “Without （U n i s p h e r e）前，
展現磅礴氣勢。
their kind help, I would never have been able
Subduing, in front of
to go abroad without a hitch.” It was in 1978 the landmark Unisphere
in New York’s Corona
that Lee first started studying art overseas. Park, exudes a majestic
grandeur.
Coursework at the Real Academia de Bellas
Artes de San Fernando was packed, but even
after a whole day of classes Lee would still
go to an off-campus drawing class to put in
three or four more hours of work. “I was like a
sponge, continually absorbing new things.” It
was this type of diligent study that laid such a
solid foundation for Lee’s future.
“At that time I most feared the holidays,
because while my classmates would all go off
to enjoy themselves, I would be working part 《空行》運用書法線
條刻畫藏傳佛教的
time anywhere I could.” His parents had ex- 「空行母」，表述透
hausted their resources to buy him a one-way 過內觀自省，成就真
理。
ticket, and the rest was left entirely up to Lee’s Using calligraphic lines,
own hard work. Empty Procession
depicts the dakini (or
The College of Arts at the Universi- kanzhoima) of Tibetan
Buddhism. It illustrates
dad Complutense de Madrid at that time had how one can attain truth
the best facilities and resources in Europe, and through inner reflection.
101
素的傑出作品，在2017年第57屆威尼斯
「苦楚」是創作的養份
雙年展中，大放異彩，獲得世界級的肯李光裕歷時十多年，
用心打造一座台灣的藝
「我心中有無盡的苦，但是我把它轉定。不但是藝術生涯中重要的里程碑，術家園。（林格立攝）
化為創作的養份。」豐沛的情感，敵不更讓國際間看到台灣卓越的藝術軟實 Lee Kuang-yu has spent
more than a decade dil-
過現實的殘酷，兩次的婚姻，都以離婚力。「我希望透過藝術，讓世界看到台 igently constructing his
Taiwanese art garden.
收場。那種對溫暖擁抱的渴望，毫無掩灣活潑的人文景觀。」 (photo by Jimmy Lin)
飾的傾洩在雕塑上。在得知展館是海明威的故居後，李光
「阿彌迦仁波切度化了我。」藏傳佛裕靈光乍現，著手創作《鬥牛系列》。
教影響的不只是李光裕的心靈，更對他「牛的衝刺蠻力，和鬥牛士優美的旋
的創作，有無盡的激勵。「修法，讓我身，在矛盾中展現美妙的張力。」
有覺醒的能力。去除自我，消弭我執，大威德金剛受文殊菩薩馴服的哲學語
才能脫離自我，成就無我。」就像打通彙，表述藝術是一種二元文化的均衡，
了任督二脈，豁然開朗。從此，李光裕它永遠存在著衝突與對立。「我希望別
走出殘缺，無拘於眼耳鼻舌身意，有若人在觀看時，心靈也能夠得到平衡和慰
天馬行空，再無束縛。作品的風格由寫藉。」
實飽滿，抽離重組，蛻變為扁平穿透。早已不把毀譽放在心間的李光裕，
虛實相生間，行雲飛騰，優游在無窮盡對於這次出乎意想的成就，淡然視之。
的宇宙。「我很感謝那些支持我的人，但是我不
「不要執著在形體，更不要死守在雕會因此而自我膨脹。」李光裕將一切視
刻，所有的事情都會觸類旁通，成為養為水到渠成。
份。」李光裕鼓勵學生要多面向嘗試，「人很容易心猿意馬，要時時警惕，
在不同領域間求取融通。拉回自我。」李光裕現在每日的功課，
李光裕《小公園》
「我在太極拳中，感受到氣韻綿延是用規律的作息，定住本尊。他引述佛作品，用渾實的雙手，
不絕的流暢，讓我對身體有全新的領搭建溫潤的空間。
經：「緣思不到，一片靈明；廓落無依，
Lee Kuang-yu’s work
悟。」李光裕在《手系列》作品中，表十方通暢」，讓世人在滾動紛雜的世界 Little Park constructs
a gentle space from a
達出無畏的布施，用不退縮的勇氣，去中，看見他所要傳達的慈悲與寧靜。 l robust pair of hands.
面對、解決與放下。「我凝視著手掌，
它就像五線譜，無數的音符，跳躍其
間，可以演奏出無盡的樂章。」當兩手
相觸，更傳遞出自我與外界，各種面向
的關連。
「我在佛法中領悟到『無漏』的智
慧。」追求全然解脫的李光裕，拈花自
得，觸手成春，體悟到天地間無處不
美。「常有人問我，靈感從何而來？」
當藝術與人格合一，心靈飽滿了，創作
怎會枯竭？
用平常心，揚譽國際
「不忮不求，才能圓滿。」李光裕
《鬥牛系列》及饒富東方禪意及民俗元

Lee feels completely unre- elements shone at the 2017
strained. The style of his work Venice Biennale, winning
has been transformed from affirmation at a global level.
one of realism, solidity and This was a major milestone
fullness into one of flattened in Lee’s artistic career, and
openwork with exposed in- enabled the world to see Tai-
teriors. Amid the interplay of wan’s outstanding soft power.
space and substance, he flies On learning that the exhi-
free in a boundless universe. bition venue was the former
“From t’ai chi I have felt residence of Ernest Hem-
the continuous smooth flow- ingway, Lee was struck with
ing of spirit, giving me a com- inspiration and set himself
pletely new comprehension to creating the “Bullfighting”
of the body.” In his “Hands” series. “The brute force of the
series, Lee expresses fearless charging bull and the elegant
action, dauntlessly facing up movements of the bullfighter
to challenges, resolving them form a beautiful tension
and moving on. “I gazed at amidst contradiction.” Lee is
the palms of my hands, and expressing the idea that art is
they appeared to me like a a balance of dualistic culture,
musical staff, with countless where conflict and opposition
notes leaping about, making always exist.
it possible to perform endless Lee, who has never cared
symphonic movements.” much about reputation, looks
“From the Dharma I have indifferently on this unanti
come to understand the con- cipated success. “I am grateful
cept of being ‘untainted.’” Lee, to all those who support me,
who seeks complete spiritual but I won’t get a swollen ego
liberation, creates with extra because of it.”
ordinary serenity and fluency. Currently, Lee’s daily
He has realized that between routine is to use a disciplined
Heaven and Earth, nowhere is cycle of work and rest to settle
without beauty. “Often people his inner self. By producing
ask me, where does your in- art that embodies the spirit
spiration come from?” When of being “open-minded and
art and a person’s character depending on nothing, all-
become one, and the spirit is aware and transcendental,” he
replete, how can creativity be hopes to enable people in the
exhausted? turbulent, chaotic world to see
International renown the compassion and tranquility
Lee Kuang-yu’s “Bullfight- that he wants to convey. l
ing” series and his outstand- (Lee Shan Wei/photos
ing works rich in Oriental courtesy of Chini Gallery/
Zen ideas and folk cultural tr. by Phil Newell)
103
產業新創　ENTREPRENEURSHIP
回收玻璃的永續進行式文•鄧慧純　圖•林格立　版面設計•王敬勛
Spring Pool Glass:

Sustainability Through Recycling

瑞士的洛桑管理學院把廢玻璃
的回收再利用率，作為國家競爭力 S witzerland’s International Institute
for Management Development uses
the rate of recycling and reuse of waste
的指標之一，乃因為玻璃回收難度
glass as an indicator of a country’s
最高，回收價格低，因此一旦玻璃
competitiveness. This is because recyc
回收做得好，其它物料的回收一定 ling glass is very difficult, and the price
也沒問題，春池玻璃董事長特助吳 of recycled glass is low, meaning that if
庭安開宗明義的解釋玻璃回收率背 a country does glass recycling well, re
後所代表的意義。 cycling of other materials should be no
台灣玻璃回收率居全球第二， problem. T.A. Wu, executive assistant
僅次於瑞典。身為台灣最大的玻璃 to the chairman of Spring Pool Glass,

explains right up front the significance
回收廠，春池玻璃一年的回收量約
of the glass recycling rate.
10萬噸，佔台灣回收玻璃的7成，
Taiwan’s glass recycling rate is the
減少的碳排放量也相當於蓋了500 second highest in the world, behind
座大安森林公園。在回收毛利不高 only Sweden. As Taiwan’s largest glass
的狀況下，春池玻璃在近一甲子的 rec ycl er, Spring Pool Glass rec ycl es
年歲中，只投注在一件事上──專 about 100,000 metric tons of glass per
注回收，實踐循環經濟。 year, accounting for 70% of all glass re
cycled in Taiwan. The reduction in car
bon emissions is equivalent to creating
some 500 Da’an Parks. In a business
in which profits are not high, through
out the nearly 60 years of its existence
Spring Pool has devoted itself to one
task—recycling and putting into prac
tice the circular economy.
105
扭開噴火槍的開關，吳庭安將高達八百度的用回收玻璃創作的玻璃藝品，藏著春池
50年來友善環境、永續資源的心意。
藍色火焰對準他新開發的綠建材「安新輕質節能 Glass art created with recycled glass embodies the ideals
磚」（以下簡稱「節能磚」），燒了幾分鐘，不 of environmental friendliness and sustainable resources
that Spring Pool has held to for the last 50 years.
見任何煙霧產生，節能磚的表面也沒有燒灼的痕
跡，伸手觸摸磚的背面還是冰涼的，其防火、隔
熱效果讓人嘖嘖稱奇。還記得吳庭安在某次報導
中，打趣地說，有了節能磚，發生火災時，可以年。13歲開始在玻璃工廠當學徒，了解製作玻璃
喝一杯咖啡再逃走。3月初，節能磚剛在新加坡的配方，後來轉經營廢玻璃回收。但玻璃回收的
完成4個小時的防火認證，這成績讓吳庭安的玩毛利很低，1公斤的回收價只有幾毛錢，不把規
笑，升級成睡一場午覺再避難都來得及。模做大，幾乎沒有利潤可言，吳春池從一台小車
四處收集廢棄玻璃，慢慢擴大規模，成為今日全
回收玻璃毛利，被逼著要創新
台最大的玻璃回收廠。
從傳統的回收業，到研發出全球首創以面板昔日回收的玻璃經過分類、分色及去雜質等
玻璃廢料為原料的綠建材，春池玻璃近年的創程序後，再經機械磨碎及玻璃窯爐熔燒等製程，
意轉身讓人驚嘆連連。但從玻璃回收業，跨製成原物料賣給玻璃業者。但隨著企業的規模擴
足到工業原料、科技建材、文化藝術與觀光增，春池接收的玻璃種類越來越多，數量也呈倍
工廠，「我們做創新其實是被大環境逼著走數增加，庫存的風險也越高。「做回收，最大的
的。」吳庭安表示。壓力就是滯銷。」吳庭安舉例，十多年前，市場
他的父親吳春池投入玻璃相關產業已經五十多上容器玻璃的需求銳減，但回收端不能拒絕接收

years. He began as an apprentice in a glass factory at
age 13, learning the mix of materials for manufacturing
glass, and later moved into recycling waste glass. But the
profit from glass recycling is very low, with the price of
one kilogram of recycled glass being only a few tenths of
an NT dollar, so that unless you operate on a large scale,
there is virtually no profit to speak of. So Wu Chun-chi
gradually grew the size of his operation, developing
from a collection round using a single small truck to
what is now Taiwan’s largest glass recycling business.
But as the company grew, the varieties of glass taken
in by Spring Pool grew ever more diverse, with volume
multiplying many times over, which also made their in
ventory risk ever greater. “In recycling, the greatest pres
sure comes from unsaleable inventory.” T.A. Wu raises a
case in point: A decade or so ago, demand for container
glass in the market dropped sharply, and the company’s
growing stock of container glass became a burden. At
that time Wu Chun-chi developed waste container glass
into a green building material called “glass stone,” add
ing another material for traditional terrazzo
and helping to create a new market for
waste glass.
Insulation blocks
Having overcome the first crisis
Opening up the valve of a blowtorch, T.A. Wu, execut through successful innovation,
ive assistant to the chairman of Spring Pool Glass, directs the next danger followed right
a blue flame of 800 °C toward a “green” building material behind. Taiwan is a major pro
the company has newly developed, the AH Lightweight ducer of consumer electronics,
Insulation Block. Even after applying the fire to the block and every year generates
for several minutes, there is no smoke whatsoever, and large amounts of display
no burn marks on the surface. Moreover, the other side of panel glass that must
the block is still cool to the touch. The material’s fire resis be recycled. This type
tance and thermal insulation properties are amazing. of glass has a higher
Low margins drive innovation melting point than
Going from a traditional recycling business to devel other glass, mean
oping the world’s first green building material whose ing more energy
raw material is flat-panel display glass, Spring Pool’s cre is needed to melt
ative transformation in recent years has been truly aston down, yet it is dif
ishing. But as they have moved from glass recycling into ficult to use after
industrial raw materials, high-tech building materials, recycling. How
culture and arts, as well as opening one of their factories e v e r, T. A . Wu
to tourists, “our innovations in fact have been forced on thought outside
us by the larger environment,” says T.A. Wu. the box, realizing
Wu’s father, company chairman Wu Chun-chi, has that a high melting
been involved in glass-related businesses for over 50 point indicates that
107
回收的容器玻璃，庫存成了壓力，吳春池那時就程序，使磚體內部形成蜂巢的孔狀結構；這些發
將廢棄的容器玻璃研發成「亮彩琉璃」的綠建泡後形成的孔洞，能阻絕熱源和聲音，跟保溫杯
材，為傳統抿石建築工法增添另一種建材，也幫利用兩金屬間的真空阻絕熱傳導的概念相同。
廢棄玻璃創造新的市場。亮彩琉璃隔音佳、不沾節能磚具有防火、隔音、隔熱、環保、無毒、
塵且不吸水，不僅適用於建築，也被運用在藝術減震等6大特性，而且重量只有傳統磚的1/8重，
創作上，桃園機場第一航廈A7候機室廣幅的「台單手即可拿起，極具市場潛力。吳庭安說：「我
灣百嶽」圖，就是以亮彩琉璃施作的公共藝術。們的優勢是施工很快，比一般的磚作快4倍，可
以減省人力。連工帶料，節能磚的成本比磚牆還
玻璃變身節能磚，綠建材身價翻倍
便宜10%。」在勞力日趨昂貴的趨勢下，吳庭安
以創新成功度過第一次危機，下一回的風險卻看好自家產品的前景。其實，節能磚早在2014年
隨之而來。台灣為3C生產大國，每年都有大量的就被交通大學「UNICODE」能源屋計畫團隊運
面板玻璃廢料需回收。這類型的玻璃因製程中添用在「蘭花屋」的設計中，參加「歐洲永續建築
加了氧化鋁、氧化矽，再製時熔點更高，更為耗十項全能大賽」（Solar Decathlon Europe），也
能，回收後難以運用。吳庭安卻逆向思考，熔點協助團隊一舉取得輝煌戰績，成為台灣之光。
高代表適合做為防火建材，他運用自己資源工程
的專業，把學生時期已研究成功的發泡玻璃磚拿
到工廠來試作；但量產規模不一樣，配方比例要
重新調配，機台也要重新設計，幾經波折才量產
吳庭安說明，這幅以亮彩琉璃創作的玉山圖，
成功。
因為玻璃會反光，產生3D立體的效果。
吳庭安解釋發泡玻璃磚（節能磚）的原理，面 T.A. Wu explains that this picture of Yushan made
using “glass stone” creates a 3D effect because
板玻璃研磨成粉末後，混合水泥，再經過發泡的 the glass reflects light.

it should be suitable for making fire-resistant building mate as two-hour fire-resistance certification and a green
rial. So he applied the technology that he had developed as a building material label from TÜV SÜD in Singa
student for making insulative foamed glass blocks, and after pore. T.A. Wu is steadily preparing to take Spring
various trials and adjustments at the factory, finally succeeded Pool’s insulation blocks international, to show Tai
in mass-producing blocks from foamed display panel glass. wan’s recycling creativity to the world.
Wu explains the principle behind the energy-saving The W Glass Project
blocks. After display panel glass is ground into a powder, it is In 2017, T.A. Wu launched the “W Glass Project.”
mixed with concrete, and then undergoes a foaming process, Wu studied resources engineering at National
which fills the material with small pores that block both heat Cheng Kung University, and then went to the Uni
and sound. versity of Cambridge in Britain to earn a degree in
The environmentally friendly energy-saving blocks are industrial management. After returning to Taiwan,
fire-resistant, sound insulating, heat insulating, vibration ab he first went to work for the Taiwan Semiconductor
sorbing, non-toxic and lightweight, giving them a very high Manufacturing Company, and only later returned
market potential. home to work in his father’s firm. His experience
Spring Pool’s energy-saving blocks were used as early as in high-tech industry has taught him that all tech
2014 by the UNICODE team at National Chiao Tung Univer nologies eventually become “traditional indus
sity in the design of their Orchid House, which took the Prize tries,” with the result that the transformation and
for Urbanism, Transport and Affordability at that year’s Solar sustainability of enterprises are issues that must
Decathlon Europe in Versailles, France. be faced for the future. So where is the future of
The energy-saving blocks went into mass production in Spring Pool? Perhaps one answer can be found in
2013, and have received certification as Fire Retardant Grade the notion of the “circular economy” implicit in the
1 from the Taiwan Accreditation Foundation and for two- “W Glass Project” that Wu proposed.
hour fire-resistance from the Ministry of the Interior, as well “W stands for my father’s name ‘Wu,’ and also
for ‘waste,’ but its most important meaning is wu
in the sense of ‘not having.’” This is because the W
Glass Project has no limits. Anything with recycling
as the core concept that makes use of Spring Pool’s
recycled glass and the craftsmanship of its glass
masters, along with cross-disciplinary cooperation
with outside designers, can be incorporated into
the W Glass Project.
For the “Circular Economy Ocean” displayed at
the 2017 Creative Expo Taiwan, 40 metric tons of
recycled glass was used to form a glass “sea,” and
visitors were invited to take off their shoes and
wade in to experience the tactile sensation. At the
Beitou Cooling Summer Festival in July, handmade
water bells blown from recycled glass floated in a
防火、隔熱、隔音又質輕的「安新輕質節能磚」，
符合未來建材節能、環保的需求。
The fire-resistant, thermally and acoustically insulating
AH Lightweight Insulation Block meets the coming
need for energy-saving and environmentally friendly
construction materials.
109
節能磚從2013年量產，已經通過台灣TAF耐燃一春池玻璃仍保留著50年前玻璃工廠的樣態，窯爐24小時
燒著，還有一群手藝精湛的師傅不倦地創作、傳承。
級及內政部防火二小時認證，也通過新加坡TUV Spring Pool Glass’s tourist factory maintains the setup of a
glassworks from 50 years ago. The furnace burns 24 hours a
兩小時防火認證及綠建材標章。吳庭安先以新加 day, and there is a group of highly skilled craftspeople who are
still tirelessly innovating and passing down their knowledge.
坡當主要市場，其位處亞熱帶氣候，是東南亞最
先進的國家，對新建材的接受度也最高。如果節
能磚能通過新加坡的法規，週邊的泰國、印尼、
馬來西亞各國也會逐步跟進。節能磚在歐美市場興趣，在成大讀了資源工程，到英國劍橋修得工
的詢問度也頗高，吳庭安逐步布局，要讓春池的業管理的學位。返台後，先到了台積電工作，才
節能磚走向國際，讓世界見識台灣的回收創意。返家接棒。科技業的經驗讓他了解所有的科技終
將變成傳統產業，產業的毛利會下跌，因此，企
無限可能的「W春池計畫」
業的轉型與永續是未來勢必面臨的議題。而春池
2017年，吳庭安開啟了「W春池計畫」。的未來在哪裡呢？或許在他提出的W春池計畫中
從小在玻璃回收廠長大的吳庭安，他還記得堆隱含的「循環經濟」可以找到解答。
積如山的羊奶瓶發臭讓人作嘔的味道，也記得工「W，是我父親的吳（Wu），也是廢棄物的W
廠裡員工和父親撿拾、分類玻璃時辛苦的身影。（Waste），但是它最重要的意思是『沒有』，也
日復一日的潛移默化，讓他對工程、材料科學有就是『無』（wu）。」W春池計畫沒有設限，舉

hot springs pool inside the Beitou Hot Spring JJ Lin, the constantly growing number of ad
Museum, and the bright sound they made by vance orders from fans quietly drove the proj
bumping into one another as they floated let ect along. For the “143 single-mouthful beer
people enjoy the feeling of a summer day with glass” project, the public were encouraged
both auditory and visual senses. Or there is to interact with frontline recycling workers,
the “Darts by André” tableware set, made in express their thanks, take photos and check in
collaboration with André Chiang: all the items on Facebook. In exchange they could receive
are made from recycled glass, while the mats a 143-milliliter beer glass manufactured by
to go under the dishes are made from the Spring Pool from recycled glass; this project
wood of oaken whiskey barrels retired from got a great response.
service. Each project allows recycled glass to People from the world of design have also
appear in daily life in different forms, becom taken the initiative to seek out cooperation
ing part of the daily routine. with Spring Pool. Hong Kong designer Niko
Does this sound like a case of a business at Leung originally worked mainly with ceram
the end of the industrial value chain taking ics, but she discovered that the waste mate
the initiative to create demand at the head of rials produced in the firing of ceramics are
the chain? not recyclable, causing a waste of resources.
That’s right. “The circular economy should After a friend introduced her to Spring Pool
produce value at the end of the chain if we
are to close the circle,” says T.A. Wu. He uses
the concept of “circularity” to work with
people from different fields and create oppor 從各地回收的玻璃要經分類、分色、去雜質及
機械磨碎等程序。（春池玻璃提供）
tunities for recycled glass. For example, for Waste glass received from all over must
the small glass bottles shaped to fit snugly in undergo separation by type and color, removal
of impurities, and machine grinding.
the hand made in cooperation with the singer (courtesy of Spring Pool Glass)
111
凡以「回收」為理念，利用春池的回市場上開創出有價值的東西，這個才
收玻璃、玻璃師傅手藝為媒介，加上是循環經濟的真義。」吳庭安再追加
外來設計者的跨界合作都算是W春池解釋。他利用「循環」的概念，與不
計畫。同領域的人合作，為回收玻璃創造
2017年台灣文化創意設計博覽會裡機會。例如跟林俊傑合作的手印玻
策展的「循環經濟海洋」，運用40噸璃瓶，因為唱片預購的數量不斷追
回收玻璃做成的玻璃海，邀請參觀者加，後續的循環就默默被帶動起來。
脫鞋踩踏，體驗觸感。7月的北投納「143一口啤酒杯」計畫，則是號召
涼季，在溫泉博物館的溫泉池裡，以民眾跟一線的回收人員互動，道聲
回收玻璃為原料、手工吹製的玻璃浮謝，拍照打卡，就可換取春池以回收
鈴，漂浮碰撞的清脆聲響，讓人用聽玻璃再製的啤酒杯。這企畫不僅獲得
覺與視覺感受夏日情懷。或是跟江振廣大民眾響應，也帶出日治時期，專
誠合作設計餐具 Darts by André，整賣局為管制酒品消耗，將啤酒杯的容
組餐皿由回收玻璃再製，木底盤則採量縮小成143毫升的典故。
用退役橡木酒桶製成。或是跟歌手林設計界的朋友亦主動尋求春池合
俊傑合作，製作手印玻璃瓶為唱片預作，來自香港的設計師梁康勤原先多
購禮。每個案例都讓回收玻璃以不同以陶土創作，卻發現大量生產製程中
的形式出現在生活中，成為日常的一所產生的廢棄品無法再回收利用，造
部分。成資源的消耗浪費。她思索藝術創作
這聽來像是產業鏈最末端的業者轉是該只專注於創造美的作品，用以賣
守為攻，跑到前端去創造需求？出獲利或是要尋求對環境更有意義的
沒錯，「循環經濟應該是從後端創作。透過朋友引薦她找到了春池玻
去產生價值，才能促進循環。」「再璃，發現玻璃能百分之百回收的特
利用要再利用成有價值的東西，或在性，比陶瓷更環保；春池玻璃手藝精
湛的老師傅們用回收玻璃吹成她設計
的作品，成品又可以百分百再回收，
也消解了她心中的疑慮。
用一輩子實踐循環經濟
走進春池的觀光工廠，吹製玻璃的
作業區還保留著50年前的樣態，窯爐
24小時燒著，每天兩班制，看著擁有
數十年經驗的玻璃師傅，從窯爐中挖
出高溫火紅玻璃膏，或是以口吹型，
W春池計畫要以各種不同的跨界合作，
參與每個人的生活日常中，「143一口啤
酒杯」計畫就是一例。
The W Glass Project utilizes all kinds of
cross-disciplinary collaboration to participate
in daily life. The “143 single-mouthful beer
glass” project is one example.

Glass, she found out that glass can be 100% recycled, creating market demand, we will enable these masters
making it more environmentally friendly than ceramics. to find heirs to their craft, so that it can be passed down
The old master craftspeople at Spring Pool, with their to the next generation.”
consummate skills, blow recycled glass into works that “The W Glass Project ultimately may become some
L eung designs. Any failed products can be rec ycled thing that grows organically,” says Wu. With continual
completely, eliminating the concerns she felt. innovation from all kinds of collaborative projects,
Practicing the circular economy Spring Pool will simply play the role of a facilitator, en
At Spring Pool’s tourist factory, the workspace for abling the concepts of closed loops and sustainability to
glass blowing retains the pattern of 50 years ago, and circulate in society and have an impact.
you can see glass masters with decades of experience.
“I am most worried about how to transmit the skills
of these masters to the next generation,” says T.A.
Wu. “Other processes can be automated, but not this,
because this is culture, and it depends on knowledge 在溫泉池裡漂流的玻璃浮鈴，碰撞的清脆聲響，讓人用聽覺
與視覺感受夏日風情。（衍序規劃設計提供，搖滾漢堡攝）
and skills built up over time.” Wu says with heartfelt Glass bells floating in a hot-spring pool make a bright sound
sincerity: “The W Glass Project aims to compensate for when they strike each other, allowing people to enjoy the feeling
of a summer’s day with both their auditory and visual senses.
this aspect. Through cross-disciplinary cooperation and (photo by Rock Burger Photography, courtesy of BIAS Architects)
113
或是放到模具裡成型，吹玻
璃是跟時間賽跑的工藝，師
傅的每個動作都不多餘，都
有用意。「師傅的技藝如何
傳承，是我最擔心的，其他
的可以用自動化去取代，但
是這個東西沒辦法，因為這
是文化，需要時間的累積才
能有這個底蘊。」吳庭安
說。這些師傅已積累數十
年的經驗是無形的文化資
產，每個人都技藝超群，
任何作品只要看一眼就能
如法炮製，但他們原初的
訓練缺乏從0到1的創造，
「W春池計畫一部分也想去
補強這部分。藉由跨界合
作，創造市場需求，進而
讓師傅們的手藝能夠有傳
人，能夠傳承下去。」吳
庭安語重心長地說。
「W春池計畫到最終可能
不是一個品牌，而是一個成
長的有機體。」吳庭安繼續
衍生解釋。隨著各式各樣的合作案不斷從藝術角度反思創作，香港設計師梁康勤在
「透明未來」展中，選用可以百分之百回收的玻璃進行創作。
創新，春池玻璃在裡面扮演循環、幫忙 Thinking about creativity from an artistic angle, Hong Kong designer
Niko Leung elected to use 100% recyclable glass to create the
的角色，讓循環、永續的概念在社會流 pieces showcased in her exhibition “The Future is Transparency.”
動，產生影響力。「如果這個模式成功
的話，也許這個循環的材料不一定是玻
璃，任何可循環概念下的東西都可以變 2018年，還有更多的W春池計畫在推動中，光想
成W春池計畫的一環。」像著未來無限的可能性，就讓人興奮不已。但是在
從W春池計畫中，我們發現吳庭安從一切酷翻了、炫斃的合作案背後，隱藏著春池「把
產業、文化、經濟、傳承，面面俱到地自己本業做到最好的精神」，是春池玻璃的網頁上
思索了一輪。未來W春池計畫會怎麼發寫下的「我們所做的，都是為了下一代」的核心價
展？吳庭安說他也不知道，「唯一確值。2016年蔡英文總統到訪春池玻璃，走了一圈，
定的是玻璃回收是絕對不會消失的。」她也有感地說：「簡單的『循環經濟』4個字，有
「或許春池不用創立自己的品牌，而是人用一輩子實現。」
跟很多人不同的跨界合作，讓每一個跨循著春池玻璃的一路歷程，我們看見這一群人用
界都是獨立的品牌；或許春池也不用開一輩子實踐循環經濟，讓廢棄玻璃有了春天，並用
設自己的通路，只要大家知道那是春池創新將台灣帶上國際舞台，也讓我們瞧見台灣永續
inside 的循環就好了。」吳庭安說。的未來。 l

How will the W Glass Project develop in the future? 2017年文博會，春池玻璃用40噸回收玻璃堆積成「循環
經濟海洋」，邀請民眾脫去鞋襪親身踩踏體驗，同時思
Wu says he doesn’t know. “The only thing that is cer
考循環經濟背後的意義。（春池玻璃提供，汪德範攝）
tain is that glass recycling will not disappear.” He adds: At the 2017 Creative Expo Taiwan, Spring Pool Glass
spread out 40 tons of recycled glass to create the “Circular
“Perhaps there is no need for Spring Pool to establish its Economy Ocean.” Visitors were invited to take off their
own brand, but rather we can work with many people shoes and socks and wade in for a tactile experience while
thinking about the meaning behind the circular economy.
in different sectors, and allow each cross-disciplinary (photo by Wang Te-fan, courtesy of Spring Pool Glass)
collaboration to become its own independent brand. Per
haps Spring Pool doesn’t need to establish its own mar
keting channels—it’s fine if everyone knows that prod with feeling: “These are just two simple words, ‘circular
ucts are part of closed loop, with ‘Spring Pool inside.’” economy,’ but some people spend their entire lives put
Even more W Glass Project projects are being pro ting them into practice.”
moted in 2018, and it is exciting merely to think about Following the path pursued by Spring Pool, we do
the boundless possibilities for the future. But behind indeed see a group of people who are devoting their
all of these amazingly cool collaborative projects, there lives to putting the circular economy into practice, giv
is Spring Pool’s philosophy of “doing one’s own busi ing waste glass a new lease on life, and using creativity
ness as well as possible.” It is a core value, written on to carry Taiwan onto the international stage, while also
Spring Pool’s webpage, that “everything we do is for the allowing us to see Taiwan’s sustainable future. l
next generation.” When President Tsai Ing-wen visited (Cathy Teng/photos by Jimmy Lin/
Spring Pool Glass in 2016, after a walkthrough she said tr. by Phil Newell)
115
多元族群　COMMUNITIES
制度化建置的推手
司法通譯硬漢 ── 陳允萍
Making the Case for Judicial
Interpretation —Peter Chen
文•李珊瑋　圖•林旻萱　版面設計•胡如瑜
每一種工作都是神聖的，尤其是當這種工作，有權力左右他人的利益
得失時，更要用一種誠惶誠恐的心情，去面對和處理。
承辦外籍人士司法案件長達25年的陳允萍，對「司法通譯」現身說
法。將自己從外事警察到移民署業務的親身經歷，撰寫成書，四方奔走
宣揚，期待落實「司法前人人平等」的執法精神，讓當事人享有「知」
的權利，並且透過良善的制度，保障通譯者的人身安全。
先行者，往往是孤寂的，但是隨著披
「中立」是通譯底線
荊斬棘，灌溉深耕的儍勁，綠洲已初現端
倪。12年來，通過化蛹成蝶的煎熬，隨著司法講求的是公正合理的審判程序，
司法改革的腳步，志同道合者的襄助，司如果當事人有語言障礙，何來正義可言？
法通譯的春天，已經不遠。所以司法通譯是給予當事人公平待遇的起
法律講求邏輯，經驗更是核心。執法人點，否則將會對人民的權利，造成嚴重的
員對案件的精準判斷，需要學養，更需要侵害。
歷練。所謂「通譯」，是要用當事人聽得懂
而由執法者擔任司法通譯的便宜行事方的語言，加以轉述，讓他（她）理解。陳
式，是否能夠毫無偏頗的傳遞出真實的案允萍指出，「通譯本身就不是一件容易的
情？事，而做為司法通譯，更是一個需要嚴謹

A ll work is sacred, but work that af-
fects other people’s rights and inter-
ests should be approached with particular
tional arrangements, to assure the per-
sonal safety of interpreters.
reverence and awe. The law emphasizes logic, but experience

Peter Chen, who has been serving as is even more critical. For law enforcement
a judicial interpreter for 25 years, is an personnel to make accurate judgments in a
ambassador for his profession. He has case, they need not only theoretical training,
written two books based on his personal but also learning through experience.
experience working for the foreign affairs Neutrality is the baseline
police and later the National Immigration Can an approach of having law enforce-
Agency, and is constantly on the go. His ment personnel serve as judicial interpreters,
aims are to uphold the principle that all convenient as it may be for the agencies
persons are equal before the law, to enable themselves, really enable the true facts of a
parties to legal cases to enjoy their “right case to be conveyed without bias?
to know,” and, through sound institu- Judicial systems strive for just and
117
訓練的工作。」不僅要精通雙方語言，
更要能精確掌握法律文件的語彙。
「就像『得』，在法律屬性中，具有
可做，也可不做的意義。代表你有這種
權利，但是也可以選擇放棄。」陳允萍
舉一個最粗淺的例子說。當把這些法律
文字，翻譯成當事人聽得懂的語言時，
必然要字斟句酌，精準表達，絲毫不能
偏離，才能保障當事人的基本人權。
法律的天秤，容不得絲毫偏頗。基
於中立公正原則，擔任通譯者，理論上
要和案件無關。但是警政單位，尚未設
置全面性的通譯資料庫，可隨時提供調
度運用。而且案件發生時，往往十分緊
迫，為了講求效率，迫使執法者在第一
時間，只能便宜行事，尋找最熟悉的
人，擔任通譯，根本無暇顧及該名通譯
者，是否能秉持中立，或是具有司法素
養。更多時候，就由執法者自己來擔任
通譯。球員兼裁判的狀況，屢見不鮮。
陳允萍用最常見的案例來說明。
「如果今天有一名外勞脫逃，警方
可能會請仲介來擔任司法通譯。」但
是仲介往往歸於利害關係人，理應迴
避。一個不適格的通譯，如何期待公
允？「所以司法通譯倫理，是程序正
義中，最重要的一環。」
雙向保障，才能圓滿
通譯，其實是一個具有潛在危險的工
作，必須要有管理和相關配套措施。陳
允萍提到一個發生在2012年，通譯者遭
他殺死亡，懸而未破的案例，值得司法
界警惕。「也許冥冥中，上天就是選定
由警界到移民署，陳允萍的業務，始終和外籍移民相關。我，為大家發聲。」陳允萍回溯整個過
From the foreign affairs police to the National Immigration
Agency, Peter Chen’s professional work has always been 程，又感到一股無可推卸的使命感。
related to foreign immigrants.
2012年初，陳允萍和司改會及民間團
體，為了推動通譯制度化，到監察院陳
情。監察院調查後，發出糾正報告書，
但是獨獨漏了「保障通譯人員人身安
全」一項。

reasonable trial procedures. If there are lin- tigation, the Control Yuan issued a corrective
guistic obstacles for a party in a case, what report, but left out one thing: measures to
justice can there be? Therefore, judicial inter- protect the personal safety of interpreters.
pretation is the starting point for providing Two months later, an investigator from the
fair treatment in cases involving different Control Yuan contacted Chen to talk about a
languages. news story that a Filipina interpreter in Yilan
“Interpretation” means re-expressing had been murdered. Although from surveil-
spoken information in a language that a lance camera footage the police had identified
party to a case knows, so that he or she can a Filipino worker who appeared at the scene
understand it. Peter Chen says, “Interpreting of the crime, he hurriedly left Taiwan the fol-
in itself is not an easy thing to do, but to be a lowing day and has never been interviewed.
judicial interpreter is a job that requires even It was reported that the deceased had a
more rigorous training.” Not only do you shop, and had served as an interpreter for
need to be fluent in two languages, you have many years. Before she died, she had inter-
to have an accurate grasp of legal terminol- preted at the district prosecutors office for a
ogy, for only then can you protect the basic Filipino migrant worker. But the worker felt
human rights of the party. that she had failed to speak up for him as her
Based on the principles of neutrality and fellow countryman, and so he bore a grudge
fairness, in theory a person serving as an against her.
interpreter should be unconnected with the In view of the sensitive nature of the
case concerned. But police agencies have work, Peter Chen earnestly exhorts his
yet to establish a comprehensive database s tudents that to avoid conflicts of interest,
of interpreters which they can use to call
on qualified people at all times. Moreover,
when an incident occurs, often there is great
urgency, and in order to take effective action,
law enforcers have no choice but to seek out 陳允萍轉送善心人士捐贈的冬衣，給台東富岡漁港的外籍船工。
（陳允萍提供）
a person they are familiar with to serve as Peter Chen passes along donated winter clothing to foreign fishing boat crew in
interpreter, regardless of whether that per- Taitung County’s Fugang Fishing Harbor. (courtesy of Peter Chen)
son has legal training or not. Very often it is

law enforcement personnel themselves who
serve as interpreters. It is by no means rare to
have a situation in which the player and the
referee are one and the same.
Personal safety
In fact, interpreting is a job fraught with
potential danger, so there must be proper
management and procedures. Chen men-
tions an unsolved case from 2012 in which an
interpreter was murdered, which should be a
warning to the judicial community.
In early 2012, Peter Chen, the Judicial Re-
form Foundation and other non-governmen-
tal groups presented a petition at the Control
Yuan to promote a formal management
system for judicial interpreting. After inves-
119
兩個月後，監察院調查官主動聯繫陳會」。目前全國各地區都設有分會，
允萍，談及宜蘭一名通譯人員遭殺害的受訓的會員逾千人，並且持續增加
新聞。雖然警方調閱監視錄影帶，過濾中。期待透過協會的平台，進行篩選
出一名菲籍移工出現在案發現場，但隔和媒合，及時提供警政和司法單位，
日迅即離境，至今未破案。適任的通譯人員。
據悉該名死者開設商店，並且擔任通「一路走來，要感謝的人太多，如果
譯人員多年。她死前，曾到地檢署為一沒有他們的幫忙，我還是只能一個人在
名菲籍移工擔任通譯。但是該名移工，偏鄉，狂犬吠日，毫無建樹。」陳允萍
認為死者沒有站在同鄉立場，為他說誠摯感恩公益平台文化基金會董事長嚴
話，心生不滿。事後，並多次向死者顯長壽及江賢二藝術文化文教基金會的鼎
露出不友善的態度。力支持，以及就諦講堂執行長李三財的
「不主動爭取，面對不合宜的對象，襄佐運行。
更要拒絕去做通譯。」陳允萍憑藉著職
業敏感度，多次向學員們耳提面命。
「連在法庭上站立的位置，都有規範，到全國各地演講和上課的陳允萍，致力提升
司法通譯人員素質。
確保通譯者的人身安全。」 Peter Chen, who has lectured and taught across
the country, is endeavoring to upgrade the
通而不譯，譯而不通 quality of judicial interpreters.
近年來，外來人口日漸成長，無論是
外籍人士受到迫害，須要法律的保護；
或是行為失當，觸及法律，都需要通譯
人員來保障新移民的司法權益。基於
此，有系統的培育通譯人才，是刻不容
緩的事宜。
陳允萍指出，目前通譯人員欠缺的
關鍵，在於「通而不譯」或「譯而不
通」，也就是說，具有通譯能力的，身
分卻不符合；身分符合者，又往往沒有
司法素養，能力不足。
雖然法院也有通譯人員名冊，但是憑
心而論，主要目的是為司法單位解決問
題，而不是協助弱勢的外籍人士。陳允
萍認為，「為求立場公正，通譯制度，
應該要獨立運行，而不是受司法單位指
揮管轄。」
眾志成城，迎來春天
這個理念，促使陳允萍在12年前，
成立了「臺東縣外語通譯協會」，並
且獲得志同道合者的認同和贊助，
2013年進而擴大為「台灣司法通譯協

陳允萍著書為推動司法通譯制度化而努力。
Chen has written books in an effort to promote
systematic management of judicial interpretation.
“you shouldn’t push to get any specific judi-

cial interpreting assignment, and if faced with
an inappropriate counterpart, you should re-
fuse the assignment.” There are even rules for
where the interpreter should stand in court,
to ensure their personal safety, he explains.
Lost in translation
In recent years, Taiwan’s foreign-born pop-
ulation has been increasing steadily. No mat-
ter whether it is a case of a foreign national
being harmed and in need of the protection
of the law, or of a foreign national behaving
improperly and infringing the law, in both
circumstances there is a need for interpreters
to protect the judicial rights and interests of
immigrants. This is why systematic training
of skilled interpreters is such an urgent task.
While courts do have lists of interpreting
personnel, frankly the main purpose is to
resolve problems for the judicial bodies them-
selves, not to assist disadvantaged foreign
nationals. Peter Chen believes, “To ensure that
interpreters can act fairly, the interpreting sys-
tem should be independent, and not be under
the jurisdiction and control of judicial bodies.”
Unity is strength
Twelve years ago, this ideal pushed Chen
to found the Taitung County Foreign-Lan-
guage Interpreters Association, which re-
ceived recognition and support from like-
minded people, and in 2013 expanded to
become the Taiwan Judicial Interpreters Asso-
ciation. There are now branches all over Tai-
wan, and to date more than 1000 people have
undergone training. The association hopes to
provide a platform for the screening and re-
cruitment of personnel, to provide competent
interpreters for police agencies and judicial
bodies in a timely fashion.
“Having come this far, there are so many
people to thank, and without their help I
121
法律的天秤，容不得絲毫偏頗。 would still be just one person in a rural back-
The scales of justice must weigh each case with water, unable to achieve anything much, like
complete impartiality.
a dog barking at the moon.” Chen is sincerely
grateful to Stanley Yen, chairman of the Al-
liance Cultural Foundation, and to the Paul
Chiang Arts and Culture Foundation, for their
「要善用上天賜予的力量，維護語言 support, as well as to J iouDi Association CEO
不通者的基本人權。」做為改革者，陳 Li Sam Choi for his operational assistance.
允萍期許自己能扮演創世紀的角色。12 Over the past 12 years, Chen has circled
年來，繞著台灣跑了3圈，舉辦了上百 Taiwan three times, holding more than 100
場教育訓練和演講，期待建置語言公平 educational training sessions and lectures, in
hopes of building a judicial environment that
的司法環境。
is linguistically fair.
「我可以每天上課7個小時，連續上3
Chen’s second book, Judicial Interpreta-
天。」展現過人毅力的陳允萍，不僅把 tion—The Development and Training of In-
所有休假都奉獻給公益，更把原本堅決 terpreters, besides expounding his ideals,
反對的太太，也感動到擔任無給職的志 also incorporates practical techniques and
工，夫唱婦隨。 information on competency assessments, to
陳允萍第二本著作《司法通譯──譯 attract even more dedicated people into ju-
dicial interpretation and reach the goal of a
者的養成與訓練》，除了宣揚理念，更
linguistically friendly judiciary. “To put good
加入實務技巧和能力考核，吸引更多有
ideas into practice, to let the world see our
志之士，投入司法通譯，落實友善司法
efforts”—this is Peter Chen’s ultimate vision
的目標。「把善念付諸實現，讓世界看 for judicial interpretation. l
到努力。」這是陳允萍對司法通譯，最 (Lee Shan Wei/photos by Lin Min-hsuan/
終的願景。 l tr. by Phil Newell)

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畫說成語平裝 Paperback US$11 本

Chinese Sayings Told in Pictures
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When West Meets East: International Sinology and Sinologists
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Stories of Chinese Herbal Medicine
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A New Age for Wildlife Conservation in Taiwan
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Embrace Taiwan 100 Images of Contemporary Taiwan
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Hold that Note!—Stories from Taiwan’s Stage
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Call of the Wild—Taiwan’s Natural World
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Shindigs and Solemnity in Taiwan
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Days of Being Wild: Youth Culture in Taiwan
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全 球 ． 在 地 ． 人 文

中華民國107年5月 第43卷 第5期

Century-Old Terraced Fields

中華民國107年5月1日出版（月刊）／ 一場場台灣舞蹈家與日本、泰國、德國的 此外，展現台灣節能、環保的玻璃回收產

出版者 光華畫報雜誌社 合作展演，所表現的除了是舞蹈家本身的創 業，回收率居全球第二。其中「春池玻璃」

to put on such productions successfully. The Global Federation of Chinese Business

8 封面故事 Cover Story

2 跨國舞藝•交融共鳴 1 百年梯田 52 月月好讀

島嶼行旅 Around Taiwan

藝文脈絡 Cultural Trends

6 台灣光華 Taiwan Panorama 2018/05

8 台灣光華 Taiwan Panorama 2018/05

Taiwanese and Japanese

W hat happens when George Orwell’s novel 1984, a

10 台灣光華 Taiwan Panorama 2018/05

12 台灣光華 Taiwan Panorama 2018/05

14 台灣光華 Taiwan Panorama 2018/05

16 台灣光華 Taiwan Panorama 2018/05

18 台灣光華 Taiwan Panorama 2018/05

20 台灣光華 Taiwan Panorama 2018/05

Crossing Cultures to Create a Dance of Joy

H orse Dance Theatre was founded in 2004 by Chen Wu-kang, Su Wei-

22 台灣光華 Taiwan Panorama 2018/05

24 台灣光華 Taiwan Panorama 2018/05

26 台灣光華 Taiwan Panorama 2018/05

28 台灣光華 Taiwan Panorama 2018/05

30 台灣光華 Taiwan Panorama 2018/05

I n 2014, when Tsai Po-cheng’s Floating Flow-

周懿文攝／photo by Chou Yi-wen

34 台灣光華 Taiwan Panorama 2018/05

36 台灣光華 Taiwan Panorama 2018/05

38 台灣光華 Taiwan Panorama 2018/05

Identity Reflected in a Distant Land

Y ears ago artistic inspiration prompted both Lo Fang-

40 台灣光華 Taiwan Panorama 2018/05

一幢真實存在、已經人去樓空的廢棄宅邸， 就像「聚合舞」（Polymer DMT）的來由，源

42 台灣光華 Taiwan Panorama 2018/05

拉風影像提供 courtesy of Lafun Photography

44 台灣光華 Taiwan Panorama 2018/05

46 台灣光華 Taiwan Panorama 2018/05

48 台灣光華 Taiwan Panorama 2018/05

晚的冰冷溼意，一些低淺的窪坑偎 要地貌。從 腳前的田埂再往前，有

輕 撥 動，牠 們 微 微 四 散，又停止下 這兒有許多早 年的卵石古道橫 越

來。天 氣 太 冷了，似乎 連多移動 一 山區，成 為先 民 挑 擔，扛 負 鹽巴、

一 個月前，這兒 才注 滿圳水，蟾 唯 這 條 路 不 長，盡 頭 是 一 座 石

膠質的卵串。沒多久，保 護 在 膠質 香 倚靠著。小小紅布壓在 廟頂，香

坡地上長滿芒草、灌 叢和爬 藤，苦 楓 香 樹 後，還 有 條 不 甚 清 楚 的

楝、朴 樹、桑 椹 從 中 茁 壯，形成優 泥土小徑。小徑 消失的地 方，一座

勢的喬木樹種。有的地方則栽種了 鮮 為人 知的炭窯，被草叢掩 埋。炭

肉桂和柚子、柑 橘等果樹。十來隻 窯因久無人使用，早已崩塌過半，

來，滯 留了好 一段時間，尚未 展開 重要遺址。

羽毛，一 邊吱喳叫著，似乎 搞不定 愈發 清 楚，一派 淺 淡輕 柔，把什麼

其間，小彎嘴從那兒發出響亮的呼 麗，因 為太 熟 悉 反而陌生，或者不

喚。次生林以多樣的樹種和層次， 懂 得如何欣 賞。就像不遠 處，好幾

種綠色怒放的時候，偶有杜英掉落 樸的美 麗，往往 乏人青睞。倒是下

兩三片紅葉，但少有人注意。 個月，油 桐花開時，白花 如雪景皓

足印。昨晚夜深時，有 隻石虎從森 山環境，牠們的獵物相對減少，只

林裡下來，悄 悄地 穿過 土坡，跳下 好以 雞 舍為目標。緣於此因，好幾

水田，在此觀察一陣後，慢 慢地走 位朋友為了搶救石虎，晚近乾脆承

到我前面 的泥 灘。緊接，停 駐了一 租 一 些 淺 山 地 帶 的 水 田，或 者 鼓

勇敢地蠕 動。我 猜想，那隻石虎應 走 在 這 些 鄉 野 環 境，我 也 常 注

不大，但 應該 足夠 飽食一頓。或 許 雞，牠知道每次捕捉只有一次撲擊 喜愛在此出沒，諸如麝香貓、白鼻

是隻小田鼠最有可能。那是牠最常 的機會，因而都會 等 待 很 久。沒有 心、鼬 獾 等，石 虎 也 是 其 中 的 成

在田裡捕捉的主要食物，六七月稻 十 分把握，絕不展開致命一擊。竹 員。牠們都是龍貓兄弟。

全球．在地．人文

中華民國107年5月第43卷第5期

中華民國107年5月1日出版（月刊）／一場場台灣舞蹈家與日本、泰國、德國的此外，展現台灣節能、環保的玻璃回收產

出版者光華畫報雜誌社合作展演，所表現的除了是舞蹈家本身的創業，回收率居全球第二。其中「春池玻璃」

一幢真實存在、已經人去樓空的廢棄宅邸，就像「聚合舞」（Polymer DMT）的來由，源

晚的冰冷溼意，一些低淺的窪坑偎要地貌。從腳前的田埂再往前，有

輕撥動，牠們微微四散，又停止下這兒有許多早年的卵石古道橫越

來。天氣太冷了，似乎連多移動一山區，成為先民挑擔，扛負鹽巴、

一個月前，這兒才注滿圳水，蟾唯這條路不長，盡頭是一座石

膠質的卵串。沒多久，保護在膠質香倚靠著。小小紅布壓在廟頂，香

坡地上長滿芒草、灌叢和爬藤，苦楓香樹後，還有條不甚清楚的

楝、朴樹、桑椹從中茁壯，形成優泥土小徑。小徑消失的地方，一座

勢的喬木樹種。有的地方則栽種了鮮為人知的炭窯，被草叢掩埋。炭

肉桂和柚子、柑橘等果樹。十來隻窯因久無人使用，早已崩塌過半，

來，滯留了好一段時間，尚未展開重要遺址。

羽毛，一邊吱喳叫著，似乎搞不定愈發清楚，一派淺淡輕柔，把什麼

其間，小彎嘴從那兒發出響亮的呼麗，因為太熟悉反而陌生，或者不

喚。次生林以多樣的樹種和層次，懂得如何欣賞。就像不遠處，好幾

種綠色怒放的時候，偶有杜英掉落樸的美麗，往往乏人青睞。倒是下

兩三片紅葉，但少有人注意。個月，油桐花開時，白花如雪景皓

足印。昨晚夜深時，有隻石虎從森山環境，牠們的獵物相對減少，只

林裡下來，悄悄地穿過土坡，跳下好以雞舍為目標。緣於此因，好幾

水田，在此觀察一陣後，慢慢地走位朋友為了搶救石虎，晚近乾脆承

到我前面的泥灘。緊接，停駐了一租一些淺山地帶的水田，或者鼓

勇敢地蠕動。我猜想，那隻石虎應走在這些鄉野環境，我也常注

不大，但應該足夠飽食一頓。或許雞，牠知道每次捕捉只有一次撲擊喜愛在此出沒，諸如麝香貓、白鼻

是隻小田鼠最有可能。那是牠最常的機會，因而都會等待很久。沒有心、鼬獾等，石虎也是其中的成

在田裡捕捉的主要食物，六七月稻十分把握，絕不展開致命一擊。竹員。牠們都是龍貓兄弟。

作豐收時，一個晚上下來，石虎可雞當然也相當機警而靈敏。白天此外，產業道路

以獵捕到三四隻。昨晚天冷，牠若時，牠們小心翼翼地走在林地間，的開闢，對淺山

能捕到一隻應該就很欣慰了。一邊啄食，隨時眼觀八方。晚上造成的傷害如

我佇足的地方是火炎山山區。這時，整個家族跳到樹上集體擠成今也愈來愈嚴

幾年經常搭火車前來，在三義車一排，避免被石虎等獵捕者突襲。重。山路能免

站下車後，背包裡放著飯糰和水石虎知道竹雞不易捕捉，夜棲則減，舊路更

壺，便往山區漫遊。一條山路又一不定。天黑了，寧可下山，走進水不宜再拓寬。大

條，一座山村復一村。我積極地尋田裡尋找食物。水田若不噴灑農量去水泥化，保持

找著仍在耕作的水田，還有走看哪藥，一年四季常有各種動物出沒，泥土路，減少對環境造

兒還有什麼風物。自然成為牠重要的覓食環境。晚成的衝擊，動物才能獲得允當的

在這一帶淺山來去，經常聽到近幾位朋友架設夜間攝影機，都棲息空間。

竹雞的對叫聲，不時響徹山谷。每不難捕捉到石虎的身影。或許，一一隻石虎的活動面積約莫數百

我總是想起石虎。石虎是高明的雞舍偷捉雞，但這樣的數量其實要找到大面積沒有道路劃過的區

獵者，善於謀定而後動。面對竹不多，多半也是老弱石虎。有位研域，如今並不多。石虎往往為了覓

道路來去。近幾失或滅絕，而是整個

經過。來去快速的車輛往往形成間，就算再給我兩輩子的

但根本之計，還在於保有棲地的淺山是人類生活裡利用頻繁到石虎的機率，恐怕仍是萬分之

完整性，減少道路的開發。的環境，同時是其他動物和人類一的微乎其微，但我毫不在意。就

公廟敬拜。環顧周遭，看看有無石標，如果無法生存，意味著淺山遙遠的某一個地方，仍有生命活

虎的任何排遺。炭窯在更裡面的樹環境的危機。根據現有的調查初著，我知道就好。

林，以某一隱密的暗黑存在著。那估，全台灣的石虎數量最多可能我因這樣的想像，隱隱感覺石

樣的原始不可侵犯，讓人覺得從那僅五百隻，多半集中在中部。石虎虎就在森林深處，隨時都在窺看。

兒回去的石虎會活得更好。的議題方興未艾，我們關切的也眼前的山，繼續豐饒地存在。

走過黃牛風景在下，只能退而求其次，詢訪在地麻煩，因而愈來愈少人飼養。如今

一頭黃牛。以前不解此因，後來探再託付了。到了都特別感到振奮。只可惜，不

問才知，當時會選擇黃牛，主要考小時，我常坐在牛車上，跟著叔熟悉港牛的脾氣。要不，真想過去

量到村裡雜糧稻作的載運，還有公到處走。黃牛脖子還掛著一口撫摸，跟牠們做朋友。

冬天旱地的耕作。水牛到處可見，美麗的銅鈴，走到哪響到哪。那輕香港黃牛乍見時，直覺跟台灣

可以跟鄰人租借來耕田。但黃牛只盈清脆的鈴噹聲，低調地發出，隱的長相落差很大，跟福建地區的也

此一家，冬天時人人種大麥，換我隱揚出童年鄉村和郊野的美好情明顯有差別。看來各地可能因歷

們家黃牛忙碌。到處幫忙，收入反境。我因而對黃牛感情特別深，尤史原由，品系混種，因而產生個體

而更好些。其是遇見掛鈴者，常忘記要事，癡的差異。緣於歷史變遷，我以為大

叔公也把黃牛當家人照顧，特呆地停留在原地，觀望不去。童年陸黃牛品系源自北方黃土高原，台

別在緊鄰灶腳旁的空地蓋了間土時，還有一個常見的綺麗畫面，讓灣則跟荷蘭和日本有關連。但不

厝。日日餵食新鮮的芒草，黃昏時人緬懷不已。黃牛犁田時，背後總論哪一種，大體說來，黃牛都比水

還幫牠薰香茅驅蚊蟲，讓牠夜深會跟著大群牛背鷺。旱地被黃牛大牛溫馴。

後可安睡。黃牛照顧得肥壯，自是力翻耕後，土壤裡平時不常見的昆以前四五友人在陽明山行山，

賣力。冬天運送大麥，暑夏載負稻蟲紛紛跑出來，正好讓牠們興奮地撞見一對水牛。我們未特別著了什

米，幫助我們家計甚多。遑論牛糞飽食。但水牛耙田時，牛背鷺卻較麼刺目的衣服，只是突然出現，牠

都可施肥，或當燃料、建料。少接近，換成喜愛潮溼環境的小們便不高興地口鼻噴氣。接下，凶

但在芳苑海邊，我想到的都是白鷺，踩著溼軟的泥地，尋找水生狠認定，我們是不友善的闖入者。

黃牛拉車的畫面。眼前的黃牛，無昆蟲。迅即挺著一對尖銳的牛角，直奔

精打彩地觀看我，不斷地用尾巴後來在香港行山，海邊或山頂而來，把我們當成敵人驅逐。嚇得

揮趕蒼蠅，彷彿也想把我趕走似的郊野，經常撞見野放的黃牛。不我們一路狂逃，驚魂未定地跑上一

視，但多半是一派溫和地觀察。緊

In 1949, after the ROC government decamped to Taiwan, Kinmen changed