第二場：重繪亞際民眾劇場歷史圖譜 I：跨地串聯與在地實踐Section II: Re-mapping Inter-Asian Historical Contexts of People’s Theater I: Regional Solidarity and Local Practice

在亞洲，民眾劇場的實踐者曾取道歐美，以想像某種先鋒性。身處第三世界的實踐者，很快意識到與自身處境更為相關的思想資源和地方傳統的重要性。回顧具有意義的亞際連結，民眾劇場有其地理起點，亦有精神起點。以第三世界作為武器，在最薄弱的環節組成統一戰線，是民眾劇場實踐者在描繪本區域圖譜時的積極想像。戰鬥中成長起來的民眾劇場，聚集起跨域交流的共同網絡，彼此理解，相互支援。

這一節將討論：什麼樣的潛能、因素與情勢促發了民眾劇場亞際網絡的建成？面對各地風起雲湧的政治變局，他們的實踐是否遭遇普遍化的結構困境？他們關於亞洲的想象，又發生了什麼變化？

In Asia, practitioners of the People's Theater looked to Europe and America to imagine a certain pioneering form. Practitioners in the Third World quickly noticed the importance of ideological resources and local traditions that are more relevant to their situation. Looking back at the meaning of Inter-Asian solidarity, People's Theater has its own geographical orientation, as well as its ideological commonality. Practitioners of People's Theater envisioned a united front built upon the weakest link, using the Third World as a weapon. People's Theater developed through battling difficulties and established networks for cross-region exchanges through understanding and mutual support.

In this section we will discuss: What are the potentials, factors and situations that have contributed to the establishment of the Inter-Asian People's Theater network? In face of turbulent political changes in various regions, what kind of shared structural difficulties have practitioners encountered? How have they changed the way they imagine Asia?

主持 Moderator

姚立群 YAO Lee Chun (台灣 Taiwan)

講者 Speakers

莫昭如、楊秉基 MOK Chiu Yu, Banky YEUNG Ping Kei (香港 Hong Kong):從民眾劇場到社區文化發展 －－ 顛覆嗎？重要嗎？From People's Theatre to Community Cultural Development - - Do They Subvert? Is It Important?

Glecy Cruz ATIENZA (菲律賓 Philippines):PETA的金牌 －－ 遊戲國家，改變亞洲PETA's Gold -- Gaming The Nation, Changing Asia

Richard BARBER (澳洲／泰國 Australia/Thailand):一個變革性的對話劇場：「油甘子劇團」對泰國政府鎮壓的談判A Transformative Theatre of Dialogue: The Makhampom Theatre Group's Negotiation of Thailand's State of Repression