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双书衣随机出货，随书附赠「莎妹剧团十五年作品辑册《S》」

　　林书豪Jeremy Lin如何从板凳球员变身NBA巨星，Steve Jobs怎样让Apple从谷底攀升，Lady Gagaㄧ夕成名的心路历程，Madonna纵横歌坛30年的祕诀，Mark Zuckerberg成功的幕后故事，Adele何以让全球乐迷为之疯狂......

　　这本书通通不会告诉你。

　　Damn Useless Art!

　　用途说明：本书重达两公斤，外出可装气质，居家用于健身，杀人足以灭口。

　　莎士比亚的妹妹们的纸上?真?场
　　影像+拼贴+文学+设计的混种策演、跨域暴动

　　Interpretation Not Available
　　不良，没什么好解释的

　　Be Wild 不良
　　Theatre on Paper by Shakespeare's Wild Sisters Group
　　Riots and Hybrids of Images, Montage, Writings and Design
　　Photography Ting Cheng
　　Collage Art Yi-hsuan Lin
　　Graphic Design Aaron Nieh
　　and 47 Authors

　　摄影 郑婷 X 拼贴 三色井 X 平面美术 聂永真 X 莎士比亚的妹妹们的剧团

　　以及

　　夏宇的离骚，纪大伟的文本分析，陈俊志的迷幻经验，鲸向海的诊疗室，杨佳娴的爱情清单，个人意见的时尚报告，骆以军的梦，李维菁的房间，胡淑雯的啦啦啦，童伟格的外劳纪事，王盛弘的食谱，伊格言的科幻物语，零雨的逃亡路线，陈宏一的阅读高潮，孙梓评的百无聊赖，黎焕雄的?示录，隐匿的经痛，阿米的在路上，夏夏的气象预报，叶觅觅的外星人奇遇，林蔚昀的恋人絮语，林婉瑜的相亲相爱，小西的宅女日记，宋国臣的恋物癖，蔡仁伟的拼图，李时雍的回程，唐捐的往事风景，王榆钧的夜游，印卡的饿，阿芒的妇科挂号，黄羊川的方向感，章芷珩的断代史，张雍的物理学，崔香兰的画画课，张雪泡的无言歌，简莉颖的拉子读本，张午午的体操，潘家欣的星座命盘，崔舜华的备忘录，吴亿伟的分手擂台，颜忠贤的神祕教派，万金油的养乐多，廖伟棠的炼狱，丁名庆的连锁信，吴俞萱的手足情深，陈允元的剃刀，郭一樵的后青春期，郑智源的遗书

　　从台北、香港、澳门、北京、上海、釜山、东京、柏林、新加坡、神户及巴黎、纽约，走遍国际各大城市，征战大小艺术节，创团至今17年，莎士比亚的妹妹们的剧团不仅是国内前卫剧场代名词，也是台湾最老字号的小剧场团体，屡次走上国际舞台深获瞩目，带动潮流的美学品牌。

　　「Be Wild」是莎妹创作的核心精神，不仅意味着小剧场的「野生」性格，更象征莎妹的酷异于主流与传统剧场路线，不是模范生、不打安全牌，百无禁忌，挑衅却不冒犯，疯狂玩耍的狂野姿态。「Be Wild」是对正典的叛逆，是莎妹作品风格与美学态度上的指标。

　　厚达664页，历经2年不断自我推翻与否定的编辑过程，在出版形式上坚持莎士比亚的妹妹们的剧团一贯追求创新实验美学，让出版成为行动，演出，观念，更是一场纸上策展。本书不仅集结记录了莎妹自1995年创团以来的41出作品，更以「开放文本，命题作文」的概念，找来新锐摄影师郑婷、拼贴艺术家三色井、平面设计师聂永真，与四十七位作家诗人，以影像，文字，拼贴与设计等混合媒材，互文衍绎，赋予剧场作品全新而多元的解读与观看角度。

　　全书分为两大单元，「How to be Wild」(不良示范)，宛如一个纸上写真剧场，参与的艺术家和作家与莎妹的作品平行创作，以多元表述的自由书写，提供另一种阅读形式的想像与可能。「Born to be Wild」(不良纪录)则以「简史」、「文本」、「工法」、「元素」、「评论」、「访谈」拆解剖析论述，并佐以创作手稿，后设式地解构莎妹作品美学。穿插其间的「妹妹们时态变化」，则召唤出10余位古今中外以S为名的不良妹妹，「明贬暗褒」其败德行径。

本书特色

　　◎先锋文化，潮牌美学的不良行径：莎士比亚的妹妹们的剧团15年41部作品集结回顾╱拆开解构╱分析诠释╱各自表述。

　　◎ 纸上剧场，视觉展演的不良衍绎：摄影郑婷＋拼贴三色井＋平面美术聂永真的重新创作╱蓄意挑衅╱直觉美感╱图像对位。

　　◎聚众滋事，集体犯规的不良组合：47位作家诗人的命题作文╱平行书写╱断章取义╱撒野扫射╱精准喷发。

　　◎煽动革命，跨界暴动的不良形式：摄像、拼贴、文字、设计，史无前例的文本开放╱意义互诠╱媒材混种╱阅读杂交。

　　莎士比亚的妹妹跟莎士比亚一点血缘关系都没有。
　　Shakespeare's Wild Sisters have nothing to do with Shakespeare.

作者简介

郑婷∣摄影

　　四岁上了幼稚园，七岁停止包尿布，十七岁得到第一台傻瓜相机，之后就一直当傻瓜当到登大人。

　　www.ting-cheng.com/

Photography Ting Cheng

　　Born in Taipei, Taiwan. Lives and works in Taipei / London.

三色井∣拼贴

　　国立台北艺术大学美术系，实践大学时尚与媒体设计研究所，目前旅居巴西。

　　www.flickr.com/photos/linyihsuan/

　　个展
　　2010 《POR ESTOS DiAS 日子》，LAENE，阿根廷
　　2009 《三色井》，画廊，高雄
　　2007 《MAG DAYS》，Salt Peanuts，台北
　　2006 《警察档案的贴纸》，南北画廊，台北

　　Collage Art Yi-hsuan Lin
　　1985 born in I-lan , Taiwan
　　Department of fine Arts, Taipei National University of the Arts,
　　Taipei, Taiwan 2007

　　SOLO EHIBITION
　　2007 《POR ESTOS DiAS 日子》，LAENE，Argentina
　　2009 《三色井》，The gallery，Kaohsung
　　2007 《MAG DAYS》，Salt Peanuts，Taipei
　　2006 《The Sticker of Police File》，Nai-Bei Gallery，Taipei

莎士比亚的妹妹们的剧团

　　1995年夏天，由艺术总监魏瑛娟等一群当年台大话剧社成员共同创立的莎士比亚的妹妹们的剧团，团名源于英国女作家维吉尼亚．吴尔芙的《自己的房间》一书中所虚拟的角色，意在解除女性才华被男性体制压抑的魔咒。翻滚跑跳江湖多年，莎妹剧团不仅堪称国内前卫剧场代名词，也是台湾最老字号的小剧场团体，创作质量均风和经营稳定，培养了一票死忠粉丝，更是屡次走上国际舞台深获瞩目的带动潮流的美学品牌。每年持续受邀于不同国家、城市，展演新作，曾赴香港、澳门、北京、上海、釜山、东京、柏林、新加坡、神户及巴黎、纽约等地演出，在国际城市文化或艺术交流上扮演重要角色。

　　1995年至2010年间，莎妹剧团共发表了四十一部作品，创作力丰沛，其中2002年王嘉明编导的《Zodiac》获选第一届台新艺术奖年度十大表演艺术，2007年作品《残， 。》更获第六届台新艺术奖年度十大表演艺术及评审团特别奖，2008年作品更以Baboo的《给普拉斯》及王嘉明的《请听我说─豪华加长版》双双入围第七届台新艺术奖年度十大表演艺术，2009年作品《肤色的时光》更荣获第八届台新艺术奖「表演艺术类」首奖殊荣。《给普拉斯》赴法国外亚维侬艺术节演出，法国第二电视台记者、《马赛剧场》杂志分别给予高度评价，亚维侬艺术节的前主席Bernard Faivre d'Arcier更肯定该作为「在今年亚维侬艺术节无可取代」，该剧获策展人青睐，至今仍持续巡演法国各城市。

　　Shakespeare’s Wild Sisters Group
　　 www.swsg95.com.tw/

　　Founded in the summer of 1995, Shakespeare's Wild Sisters Group owes its name to the fictional character in Virginia Woolf’s novel A Room of One’s Own, meaning to liberate women’s talents from the oppression of patriarchy. Limiting itself to no specific issues or convention alaesthetics, SWSG takes materials from all arts inspiring to create original theatrical works. Having been to Hong Kong, Macau, Beijing, Shanghai, Busan, Tokyo, Berlin, Singapore, Kobe, Paris, and New York, SWSG has been invited by various cities and countries to perform, and takes an important role in international city culture and artistic exchange for many years.

　　The SWGS has now issued over forty theatrical works to date. Zodiac, written and directed by WANG Chia-ming, was selected Top 10 in the 1st Taishin Performing Arts Awards. The 2007 production Tsen，。received a Top 10 Performing Arts nomination and Special Jury Award in the 6th Taishin Arts Awards. In 2008, Baboo’s directed work Hsu Yen-ling × Sylvia Plath and WANG Chia-ming’s directed work Listen to Me, Please~ Deluxe extended version were both nominated Top 10 in the 7th Taishin Performing Arts Awards, the former presented again in Avignon Off Festival, France in 2009, and earned high praises from former Chair of the Festival Bernard Faivre d’Arcier. Director WANG Chia-ming’s Once, upon Hearing the Skin Tone received first prize in the 8th Taishin Performing Arts Award.

序之一

取代解释学，我们需要艺术的情色观──莎妹的反诠释剧场
纪蔚然 （国立台湾大学戏剧系教授）

莎士比亚的妹妹们的剧团无疑是1990年代中期以来，台湾剧场界最前卫、最勇于挑战美学界限与观众的剧团。

这个剧团名字怪，风格更怪；它的组合也很奇怪。虽说是台大帮（创始团员都自台大毕业），但其实是杂牌军，成员来自不同科系，且没有一个是科班出身。据我所知，几个核心团员私底下各过各的，不搞麻吉，让外人感觉不出革命情感，或许因为如此，团内少有人事纷争，没有个性冲突，所以才可以活这么久。

自1995成立以来至今，莎妹一共推出四十一部作品。其中，我观赏了一些，有的在台湾，有的在国外。虽然曾写过剧评，我不敢说完全了解莎妹到底在搞什么鬼。《王记食府》大概是我最有把握「看得懂」的一出：不过是两个人煮菜给观众吃，主戏是那几道一中一西的菜色，我们只要动用舌头，不用偏劳智力，便能对它品头论足。

我：好不好吃？
妻：还不错。
我：但这算是剧场吗？

这是我写过最短的剧评，而且头一遭用「好不好吃」起头。然而，这是否为剧场的提问颇为贴切。

莎妹极难归类。反戏剧、反叙述、反人物、反道德、反人文主义的文人剧场、风格取向剧场、概念剧场、后现代剧场、后后现代剧场、不食人间烟火剧场……这些都适用，却没一个是真正贴切的。从观众的角度，我们或可借由苏珊‧宋坦（Susan Sontag）「反诠释」的概念进一步了解莎妹。

宋坦提倡反诠释，认为诠释是强制赋予作品意义的暴力，在西方这种冲动自柏拉图以降以至于今，从未稍歇，如今来到批评专业化的年代，更形氾滥。诠释是反动的，使作品窒息，她说。在诠释的过程中，纯粹的能量被智力遏抑了，感官因理性而变得迟钝了。莎妹的剧场重感官，甚至在文字充斥的戏码里，自我反射性的文字的也是为了勾引感官，而不只是抒情表义。「取代解释学，我们需要艺术的情色观。」就这一点而言，莎妹完全办到了。
我戏称莎妹为「不食人间烟火剧场」，因为乍看之下，莎妹好似不食人间烟火，然而在这十六年里的四十一部作品，所有关乎人间烟火的命题，如爱情、疏离、寂寞、生命、死亡、身体、回忆、幻想、社会、历史，甚至时尚等等都有淋漓尽致的呈现。只不过，呈现的方式不是我们熟悉的写实，也不是我们习以为常的叙事：它的质地既感官又细致，既形而上又具体而微。

In place of a hermeneutics we need an erotics of art: the interpretation-resistant theatre of SWSG

Wei-jan Chi , professor of Drama and Theatre at National Taiwan University

Without a doubt, Shakespeare’s Wild Sisters Group is the most avant-garde company of Taiwanese live theatre since the mid 1990s and the bravest in terms of challenging aesthetic limits and theatre-goers.

Its name is weird and its style is weirder, not to mention the weirdness of the team itself. Though it can be labeled an NTU gang for being founded by graduates of the National Taiwan University, the team is a mixed bag in fact, with current members from various disciplines none of which is actually “theatre studies”. As far as I know, the few core members have separate personal lives – no in-group entanglement here -- such that casual onlookers may be unable to discern much camaraderie among them. Perhaps this is precisely why the company seldom has administrative disputes or personality conflicts, enabling it to have survived for so long.

Since its founding in 1995, SWSG has released 41 works in total. Some of these I have seen in Taiwan and others abroad. Despite having reviewed them, I dare not claim that I entirely understand how SWSG mucks around with things. One work that I most confidently “understand” is “Mansion de Wangs” -- though it entails two people cooking dishes to be tasted by the audience, enabling us to appraise the featured Chinese and Western dishes with our pallates only, not our frontal-lobe intellect.

Me: How does it taste?
My wife: Not bad.
Me: But is this theatre?

That was the shortest review I have written and the first time I have opened my writing with the phrase “how does it taste”. “Is this theatre?” is nevertheless an apt question.
SWSG is extremely difficult to label. Call it anti-dramatic, anti-narrative, anti-character, anti-morals, anti-humanist artsy theatre; or call it style-oriented theatre, conceptual theatre, post-modern theatre, post post-modern theatre, ivory tower theatre…… all these are applicable but none truly befitting. As viewers, we can perhaps better understand SWSG through Susan Sontag’s discussion of “anti-interpretation”.

Sontag is against interpretation; she regards it as an agreession forcing meaning upon the work. In the West, this impuse has neither ceased nor abated since the time of Plato, and has only overflowed in this era of professional criticism. According to Sontag, interpretation is largely “reactionary” and “stifling”, a process entailing “the hypertrophy of the intellect at the expense of energy and sensual capability.” The theatre of SWSG, however, accentuates the sensual. Even in their text-heavy works, reflexive words serve not only to emote and inform but also to entice the senses. “In place of a hermeneutics we need an erotics of art,” wrote Sontag; in this regard, SWSG has thoroughly succeeded.

I call SWSG “ivoary tower theatre” in jest because, at first glance, they indeed seem to dwell therein. Yet among the 41 works they presented over the past 16 years they have vividly rendered all the wordly topics from beyond the tower, including love, alienation, loneliness, living, dying, the flesh, memories, fantasies, society, history and even fashion. It is merely that their manners of expression are neither literal nor narrative as we would otherwise find comfortable or familiar. Their texture is both sensual and nuanced, both metaphysical and concrete with details.

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