（真抱歉，来不及啦～～） 中研院民族所周一演讲 讲题／First as Farce, Then as Tragedy: Popular Allegory and National Analogy in Contemporary Taiwanese Opera 讲者／司黛蕊(Teri Silvio)女士（ 中央研究院民族学研究所　助研究员） 时间／94年12月26日（周一)下午2:30~4:30 地点／民族所新大楼 三楼会议室(2319室) This paper compares two performances of koa-a-hi (歌仔戏) operas based on the same folk history tale. The first, Kam Kokpo Koe Taioan (甘国宝过台湾), was performed at a temple festival in Taipei in 1994. It was performed in the opeila style, a bricolage of traditional Chinese and global popular culture genres, created by and for working class people, mostly people involved in small- scale, family-based businesses. The second opera, Citong Huakai (刺桐花开), was performed at the National Theater in 2000. Citong Huakai was a “refined” koa-a-hi opera, written and produced with an intellectual audience in mind, and explicitly attempting to reconstruct and promote “Taiwanese culture.” I argue that the relationship which Kam Kokpo Koe Taioan constructs between the historicity of the stageworld and the present of the performance is allegorical, while Citong Huakai constructs a relationship between past and present that is analogical. In Kam Kokpo, the combination of the Qing Taiwan setting with the opeila style challenges the moral economy of both nationalism and neo- liberalism by investing contemporary social stereotypes with the emblematic aura of traditional paragons of virtue and vice. I argue that there is a contradiction between the historicism of Citong Huakai’s content and the historicism of its form. Despite the opera’s explicit purpose of constructing a unique Taiwanese identity by purifying and modernizing a representative “folk art,” the structure of its analogy between past and present replicates a distinctly American model of ethnicity. http://www.ioe.sinica.edu.tw/chinese/event/index.htm　　　 --

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