阮劇團 < 陳文成的證明題 >
#超划演出 #阮粉別錯過
✦2023人權藝術生活節一票難求
✦阮劇團藝術總監 #汪兆謙 親自執導
✦《鬼地方》前製演出劇本改編之一 #郭家瑋 編劇
《陳文成的證明題》
隆重降落草草
購票看演出即可 #免費玩 草草戲劇節
面對台灣歷史上的重大事件，本劇以人物作為切角，企圖在歷史的龐大敘事之中，找尋到與台下現代觀眾的共鳴。進而邀請觀眾加入故事中對於真相的追求，以及追求的不可能，從中思考出對於歷史的觀點以及個體的生存姿態。
看完廳內演出➯還能接著看超多戶外演出.ᐟ.ᐟ
戲劇×音樂×市集×展覽×講座×工作坊
橫跨十天
百場活動
⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯
《陳文成的證明題》
今天是陳文成的一百歲生日！在妻子陳素貞為他舉辦的生日派對上，許久未見的朋友鄧維祥意外登場。然而兩人卻因為對於事件的細節產生口角，甚至懷疑起彼此。更想不到，當時偵訊陳文成的鄒小韓也不請自來。在事件後沒多久就離開台灣的鄒小韓，這次的拜訪究竟會帶來的是更多真相，又或者會讓「真相」更加撲朔迷離呢？
│演員名單│
除了看《陳文成的證明題》，還能享有草草入園資格
超多精彩的戶外演出等你看到飽
更多戶外演出節目表➯ https://thegrasstrawfestival.ourtheatre.net/outdoor/
今天是陳文成的一百歲生日！在妻子陳素貞為他舉辦的生日派對上，許久未見的朋友鄧維祥意外登場。然而兩人卻因為對於事件的細節產生口角，甚至懷疑起彼此。更想不到，當時偵訊陳文成的鄒小韓也不請自來。在事件後沒多久就離開臺灣的鄒小韓，這次的拜訪究竟會帶來的是更多真相，又或者會讓「真相」更加撲朔迷離呢？
Today is Chen Wen-Cheng's 100th birthday! At the birthday party organized by his wife, Chen Suzhen, a long-lost friend, Deng Weixiang, unexpectedly made an appearance. However, the two of them got into a heated argument over the details of an event, even doubting each other. To their surprise, Zou Xiaohan, who had interrogated Chen Wen-Cheng shortly after the incident and then left Taiwan not long after, also showed up uninvited. With Zou Xiaohan's visit, will it bring forth more truths or further obscure the "truth" in this perplexing situation?
人權議題之關聯
隨著時代風氣逐漸開放，過去只能隱而不談的事件，如今可以是作品的核心。然而在觀點上，若僅僅只是重現時代的暴力，並且加以譴責甚至是報復，觀眾來到劇場享受了快感之後，對於時代的認知仍然沒有動搖，歷史在此也只是一則聳動的故事。
如果我們藉由史料企圖重新回到事件本身，會發現一切充滿了無關、甚至矛盾的細節。這些零零散散的細節或許無法被一句完整且平滑的話給涵納，然而他卻是構成人的一部分。人的前後不一、軟弱與堅強、執著與妥協。而這些細節正是本劇的核心，因為它可以越過既定的意識形態，來邀請觀眾重新思考歷史。
因此，觀眾來到劇場所看到的並不是陳文成事件的翻案，也不是看到對於加害者與被害者之間的重新指責與憐憫。而是在演出過程中，不斷發現他們與角色的共同點，進而漸漸的把視角轉移到「普通人」這個共同身份上。如此一來，我們更看見那個普通人也會受難的時代，是多麽的令人不安。如此一來，我們才有可能真的從歷史中記得些什麼。
與其說《陳文成的證明題》是談論某個議題的作品，我更傾向將它定位為它是關於事件之後，人們的生存姿態。在遺忘被定義成背叛的觀點之下，的確推行了正義的伸張，卻沒有照料到個體在記憶著時代時，本身消耗與疲態。然而對於事件的執著，也使其無法輕易選擇遺忘。人們總是在這樣的矛盾中學著自處，而這始終是沒有答案的。觀眾必須帶著這個問題離開，回到生活，回到下一次觀看歷史的過程中。這也是我希望透過《陳文成的證明題》所帶給大家的一道提問
As societal norms gradually open up with the passage of time, events that were once swept under the rug can now become the central focus of artistic works. However, from a perspective standpoint, if the sole purpose is to merely depict the violence of a bygone era, condemn it, or seek revenge, and after the audience derives a sense of catharsis, their understanding of the era may remain unshaken. In this context, history becomes just another sensational story.
If we attempt to return to the events themselves through historical records, we'll find that everything is filled with irrelevant and sometimes contradictory details. These scattered details may not fit neatly into a single coherent narrative, yet they constitute a part of human experience. Humans are complex, inconsistent, both weak and strong, stubborn and compromising. These details lie at the heart of this play because they transcend established ideologies and invite the audience to reevaluate history.
Therefore, what the audience sees in the theater is not a reenactment of the Chen Wen-Cheng incident, nor is it a reinterpretation of blame and compassion between perpetrators and victims. Instead, during the performance, they continuously discover similarities between themselves and the characters, gradually shifting their perspective to the shared identity of "ordinary people." In doing so, we can better comprehend how unsettling the times were when even ordinary individuals could suffer. It is through this lens that we might truly remember something from history.
Rather than considering "Chen Wen-Chen's Proof" as a work discussing a particular issue, I prefer to position it as a reflection on how people continue to exist after an event. Under the viewpoint where forgetting is defined as a betrayal, the pursuit of justice is indeed carried out, but it fails to address the personal toll and exhaustion individuals experience when remembering an era. Yet, the obsession with the event also makes it impossible to easily choose to forget. People always navigate such contradictions, and there are no definitive answers. Audiences must leave with this question in mind, returning to their lives and to the process of revisiting history. This is the question I hope to pose through "Chen Wen-Chen's Proof".
團隊介紹Performer Introduction
阮劇團 - 阮的故事，咱來交陪
2003年，幾個未滿二十歲的年輕人，在故鄉嘉義，成立了地方上第一個現代劇團「阮劇團」。
以「阮」為名，所指涉的就是臺語中的「我們」。如此的一個劇團，關注本土文化的學習與傳承、實驗元素的融入與詮釋，在過程中更追求創新。這些年來，阮劇團累積的獨特作品風貌，已在臺灣表演藝術界走出一條特別的道路。
「社會公益」也是阮劇團同等關注的領域。以戲劇教育切入，希望能帶給大眾繽紛的創意、清澈的思辨力，阮相信——戲劇不僅能啟發人心，也是改變生活的動力。如果可以將這樣的信念散播出去，那麼，劇場便能為社會迎來多元可能性。
除了向內挖掘與探詢，阮劇團也積極與國內外藝術家與劇團合作，一方面拓展國際視野、汲取不同養份，另一方面，則要讓世界望見臺灣表演藝術的風采。此外，透過劇團的系統育成，阮劇團為有志從事表演藝術的年輕人提供一個學習成長平臺，隨著每年一批批優秀新血加入，也意味著在地藝術圈被灌注源源不斷的動能。
阮劇團的品牌標語——阮的故事，咱來交陪。「交陪」在台臺語中意指互動、共享與共創、共好；面對未來，阮劇團正期盼與更多好友，交陪出新的故事。不但要持續追求卓越，創作更多令人驚艷的展演作品，引領觀眾體驗劇場無可取代的特性；同時，也要求自己肩負社會責任、對當代議題作出回應，為表演藝術帶來更深遠的影響！
In 2003, a group of young individuals under the age of twenty established the first modern theater company in their hometown of Chiayi, named "Our Theatre."
The name "Our Theatre" signifies "us" in the local Taiwanese dialect. This theater company is dedicated to the preservation and transmission of local culture, the integration of experimental elements, and innovative interpretations, while constantly striving for creativity. Over the years, Our Theatre has developed a unique artistic style, carving out a distinctive path in Taiwan's performing arts scene.
"Social welfare" is another area of equal concern for Our Theatre. Through drama education, they aim to bring creativity and clear critical thinking to the public. Our Theatre firmly believes that drama not only inspires hearts but also serves as a catalyst for life transformation. If this belief can be spread, theater can usher in diverse possibilities for society.
In addition to introspection and exploration, Our Theatre actively collaborates with domestic and international artists and theater companies. On one hand, they expand their international perspective and draw from different sources of inspiration. On the other hand, they aim to showcase Taiwan's excellence in performing arts to the world. Furthermore, through their theater company's system, Our Theatre provides a learning and growth platform for young individuals aspiring to pursue the performing arts. With each new batch of talented newcomers joining, it signifies a continuous injection of energy into the local arts scene.
Looking towards the future, Our Theatre eagerly anticipates sharing new stories with even more friends. They not only aim to pursue excellence and create more astonishing performance works, leading the audience to experience the irreplaceable characteristics of theater, but also feel a sense of responsibility towards society, addressing contemporary issues and bringing about a more profound impact on the world of performing arts!
其他說明Notes
其他蔣經國時代資料新聞收集如下：
✦2023人權藝術生活節一票難求
✦阮劇團藝術總監 #汪兆謙 親自執導
✦《鬼地方》前製演出劇本改編之一 #郭家瑋 編劇
《陳文成的證明題》
隆重降落草草購票看演出
即可 #免費玩 草草戲劇節
面對台灣歷史上的重大事件，本劇以人物作為切角，企圖在歷史的龐大敘事之中，找尋到與台下現代觀眾的共鳴。進而邀請觀眾加入故事中對於真相的追求，以及追求的不可能，從中思考出對於歷史的觀點以及個體的生存姿態。
看完廳內演出➯還能接著看超多戶外演出.ᐟ.ᐟ
戲劇×音樂×市集×展覽×講座×工作坊
橫跨十天
百場活動⋯⋯⋯⋯⋯⋯⋯⋯⋯⋯
《陳文成的證明題》
今天是陳文成的一百歲生日！在妻子陳素貞為他舉辦的生日派對上，許久未見的朋友鄧維祥意外登場。然而兩人卻因為對於事件的細節產生口角，甚至懷疑起彼此。更想不到，當時偵訊陳文成的鄒小韓也不請自來。在事件後沒多久就離開台灣的鄒小韓，這次的拜訪究竟會帶來的是更多真相，又或者會讓「真相」更加撲朔迷離呢？
│演員名單│
- 鄧維祥：顧軒
- 陳素貞：何冠儀
- 鄒小韓：黃昶然（第一週）、鄭國偉（第二週）
除了看《陳文成的證明題》，還能享有草草入園資格
超多精彩的戶外演出等你看到飽
更多戶外演出節目表➯ https://thegrasstrawfestival.ourtheatre.net/outdoor/
===
陳文成的證明題 相關討論影片：
人權藝術生活節 阮劇團搬戲討論轉型正義 | 公視台語台 | 20231201
相關討論文章：
===
節目介紹Program Introduction
今天是陳文成的一百歲生日！在妻子陳素貞為他舉辦的生日派對上，許久未見的朋友鄧維祥意外登場。然而兩人卻因為對於事件的細節產生口角，甚至懷疑起彼此。更想不到，當時偵訊陳文成的鄒小韓也不請自來。在事件後沒多久就離開臺灣的鄒小韓，這次的拜訪究竟會帶來的是更多真相，又或者會讓「真相」更加撲朔迷離呢？
Today is Chen Wen-Cheng's 100th birthday! At the birthday party organized by his wife, Chen Suzhen, a long-lost friend, Deng Weixiang, unexpectedly made an appearance. However, the two of them got into a heated argument over the details of an event, even doubting each other. To their surprise, Zou Xiaohan, who had interrogated Chen Wen-Cheng shortly after the incident and then left Taiwan not long after, also showed up uninvited. With Zou Xiaohan's visit, will it bring forth more truths or further obscure the "truth" in this perplexing situation?
人權議題之關聯
隨著時代風氣逐漸開放，過去只能隱而不談的事件，如今可以是作品的核心。然而在觀點上，若僅僅只是重現時代的暴力，並且加以譴責甚至是報復，觀眾來到劇場享受了快感之後，對於時代的認知仍然沒有動搖，歷史在此也只是一則聳動的故事。
如果我們藉由史料企圖重新回到事件本身，會發現一切充滿了無關、甚至矛盾的細節。這些零零散散的細節或許無法被一句完整且平滑的話給涵納，然而他卻是構成人的一部分。人的前後不一、軟弱與堅強、執著與妥協。而這些細節正是本劇的核心，因為它可以越過既定的意識形態，來邀請觀眾重新思考歷史。
因此，觀眾來到劇場所看到的並不是陳文成事件的翻案，也不是看到對於加害者與被害者之間的重新指責與憐憫。而是在演出過程中，不斷發現他們與角色的共同點，進而漸漸的把視角轉移到「普通人」這個共同身份上。如此一來，我們更看見那個普通人也會受難的時代，是多麽的令人不安。如此一來，我們才有可能真的從歷史中記得些什麼。
與其說《陳文成的證明題》是談論某個議題的作品，我更傾向將它定位為它是關於事件之後，人們的生存姿態。在遺忘被定義成背叛的觀點之下，的確推行了正義的伸張，卻沒有照料到個體在記憶著時代時，本身消耗與疲態。然而對於事件的執著，也使其無法輕易選擇遺忘。人們總是在這樣的矛盾中學著自處，而這始終是沒有答案的。觀眾必須帶著這個問題離開，回到生活，回到下一次觀看歷史的過程中。這也是我希望透過《陳文成的證明題》所帶給大家的一道提問
As societal norms gradually open up with the passage of time, events that were once swept under the rug can now become the central focus of artistic works. However, from a perspective standpoint, if the sole purpose is to merely depict the violence of a bygone era, condemn it, or seek revenge, and after the audience derives a sense of catharsis, their understanding of the era may remain unshaken. In this context, history becomes just another sensational story.
If we attempt to return to the events themselves through historical records, we'll find that everything is filled with irrelevant and sometimes contradictory details. These scattered details may not fit neatly into a single coherent narrative, yet they constitute a part of human experience. Humans are complex, inconsistent, both weak and strong, stubborn and compromising. These details lie at the heart of this play because they transcend established ideologies and invite the audience to reevaluate history.
Therefore, what the audience sees in the theater is not a reenactment of the Chen Wen-Cheng incident, nor is it a reinterpretation of blame and compassion between perpetrators and victims. Instead, during the performance, they continuously discover similarities between themselves and the characters, gradually shifting their perspective to the shared identity of "ordinary people." In doing so, we can better comprehend how unsettling the times were when even ordinary individuals could suffer. It is through this lens that we might truly remember something from history.
Rather than considering "Chen Wen-Chen's Proof" as a work discussing a particular issue, I prefer to position it as a reflection on how people continue to exist after an event. Under the viewpoint where forgetting is defined as a betrayal, the pursuit of justice is indeed carried out, but it fails to address the personal toll and exhaustion individuals experience when remembering an era. Yet, the obsession with the event also makes it impossible to easily choose to forget. People always navigate such contradictions, and there are no definitive answers. Audiences must leave with this question in mind, returning to their lives and to the process of revisiting history. This is the question I hope to pose through "Chen Wen-Chen's Proof".
團隊介紹Performer Introduction
阮劇團 - 阮的故事，咱來交陪
2003年，幾個未滿二十歲的年輕人，在故鄉嘉義，成立了地方上第一個現代劇團「阮劇團」。
以「阮」為名，所指涉的就是臺語中的「我們」。如此的一個劇團，關注本土文化的學習與傳承、實驗元素的融入與詮釋，在過程中更追求創新。這些年來，阮劇團累積的獨特作品風貌，已在臺灣表演藝術界走出一條特別的道路。
「社會公益」也是阮劇團同等關注的領域。以戲劇教育切入，希望能帶給大眾繽紛的創意、清澈的思辨力，阮相信——戲劇不僅能啟發人心，也是改變生活的動力。如果可以將這樣的信念散播出去，那麼，劇場便能為社會迎來多元可能性。
除了向內挖掘與探詢，阮劇團也積極與國內外藝術家與劇團合作，一方面拓展國際視野、汲取不同養份，另一方面，則要讓世界望見臺灣表演藝術的風采。此外，透過劇團的系統育成，阮劇團為有志從事表演藝術的年輕人提供一個學習成長平臺，隨著每年一批批優秀新血加入，也意味著在地藝術圈被灌注源源不斷的動能。
阮劇團的品牌標語——阮的故事，咱來交陪。「交陪」在台臺語中意指互動、共享與共創、共好；面對未來，阮劇團正期盼與更多好友，交陪出新的故事。不但要持續追求卓越，創作更多令人驚艷的展演作品，引領觀眾體驗劇場無可取代的特性；同時，也要求自己肩負社會責任、對當代議題作出回應，為表演藝術帶來更深遠的影響！
In 2003, a group of young individuals under the age of twenty established the first modern theater company in their hometown of Chiayi, named "Our Theatre."
The name "Our Theatre" signifies "us" in the local Taiwanese dialect. This theater company is dedicated to the preservation and transmission of local culture, the integration of experimental elements, and innovative interpretations, while constantly striving for creativity. Over the years, Our Theatre has developed a unique artistic style, carving out a distinctive path in Taiwan's performing arts scene.
"Social welfare" is another area of equal concern for Our Theatre. Through drama education, they aim to bring creativity and clear critical thinking to the public. Our Theatre firmly believes that drama not only inspires hearts but also serves as a catalyst for life transformation. If this belief can be spread, theater can usher in diverse possibilities for society.
In addition to introspection and exploration, Our Theatre actively collaborates with domestic and international artists and theater companies. On one hand, they expand their international perspective and draw from different sources of inspiration. On the other hand, they aim to showcase Taiwan's excellence in performing arts to the world. Furthermore, through their theater company's system, Our Theatre provides a learning and growth platform for young individuals aspiring to pursue the performing arts. With each new batch of talented newcomers joining, it signifies a continuous injection of energy into the local arts scene.
Looking towards the future, Our Theatre eagerly anticipates sharing new stories with even more friends. They not only aim to pursue excellence and create more astonishing performance works, leading the audience to experience the irreplaceable characteristics of theater, but also feel a sense of responsibility towards society, addressing contemporary issues and bringing about a more profound impact on the world of performing arts!
其他說明Notes
- 節目長度：80分鐘 Program Length: 80 minutes
- 建議觀賞年齡：7歲以上 Recommended Age: 7 years old and above
- 使用語言：華語、臺語 Language: Chinese, Taiwanese
- 本節目採現場排隊，自由入座觀賞。This performance allows on-site queueing for open seating.
- 「隔壁老王」在蔣經國日記扮演的角色 章亞若於1942年8月被謀殺
- 蔣經國長子蔣孝文 也太多誇張事蹟 見證蔣家時代的荒謬黨國威權 1968年 台灣最出名的軍人自殺與冥婚事件 高成器與吳純純
- 高度政治性而被「辦」為懸案的台灣案件 1974 翠嶺路滅門案又稱北投查宅血案
- 蔣經國時代 1979年 美麗島事件 回顧
- 蔣經國時代 1980年 林宅血案 真的令人無法相信政府
- 蔣經國時代 1981年 陳文成命案 始終沒有一個交代 - 陳菊坐牢期間，蔣經國政權在忙些什麼？
- 蔣經國時代的懸案 1984年 劉江南命案 被張安樂指涉案的蔣孝武之後被外放日本和新加坡，逐漸淡出政府決策的核心。
- 蔣經國時期的金融弊案 1985年 十信案 」超貸、侵佔、背信與偽造文書案的經濟犯罪事件。
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發表一下意見，互動一下唄！