Still-life 俱樂部 分會編號2006-2008

前言-定義「活著」

「我們從何處來？我們是誰？我們向何處去？」這是高更在1897年創作的畫作，描繪了受苦的人們。這三個問句似乎探討了生命的核心問題。

在「活著」這個主題下，我們討論了對哪些內容比較感興趣，當時我們選定了「神秘學」、「犯罪」、「陰暗」這三個主題。學期初，我們也舉辦了一次全校徵文活動，尋找學校同學們曾犯過的錯誤，以及聽過的神秘故事。我們想試圖找到我們這個世代的人內在晦暗的那塊。

而徵文活動並不順利，要同學沒有準備的狀況下分享自身陰暗的一面並不是一件容易的事。因此想要找到共同的「大數據」的資訊成為一件無法完成的事。因此我們還是只能從這次參與的同學的生命歷程裡去找答案。

在選定演員之後，我們整理了這些演員同學們的故事，進行了編輯，試圖以在2024年所活的生活軌跡來講述來自彰化（以及南投、桃園、德國）在員林高中相遇的我們，所經歷的生命故事，作為對「活著」的回應。

首先我們找到一個很大的共同點是「信仰」。而這裡我們談的不一定是宗教，也可以是價值觀，我們也討論了不同價值觀。在很多獨立群體裡找到一個通則，再與不同文化背景（德國同學）的共同性。而我們發現我們的共同點也許是都要面對墨守成規的「權威」，面對沒有提問就服從的以上對下的承襲，這是我們找到的共同點，也是我們這次作品裡想談論的。

因此這七位演員的故事對應了幾個主題，包括了信仰與反對信仰、東方傳統與西方傳統（道教誦經與聖經），以及反傳統觀念（反思家族私人壇的信仰）的延伸。他們講述了逃離困境和面對困境的不同經歷（逃離自己的國家，面對對自己提出冒犯問題的人及問句）。也有個片段探討了故事本身的價值是否比講故事的方式更重要等。

透過這些故事，我們試圖探討「繼承傳統信仰」這句話，特別關注「繼承」這個概念在劇本中書寫，並且批判。

Introduction - Defining "Living"

"Where do we come from? What are we? Where are we going?" This is the title of a painting created by Gauguin in 1897, depicting suffering people. These three questions seem to explore the core issues of life.

Under the theme of "living," we discussed the topics we were most interested in and settled on "mysticism," "crime," and "darkness." At the beginning of the semester, we organized a school-wide essay competition to gather stories about crimes and mistakes students have committed and made ,and mysterious stories they have heard. We wanted to try to find the dark aspects within our generation.

However, the essay competition was not successful. Asking students to share their dark sides without preparation was not an easy task. Therefore, finding common "big data" information became impossible. We had to look for answers in the life experiences of the members of Honglo theater troupe.

After selecting the actors, we compiled and edited their stories, attempting to use the life trajectories of 2024 to tell the stories of those of us from Changhua (and Nantou, Taoyuan, Germany) who met at Yuanlin High School, as a response to "living."

The first significant commonality we found was "belief." This doesn't necessarily refer to religion but can also be values. We discussed various values and found common principles in many independent groups. We then compared these with the commonalities of different cultural backgrounds (including our German friend). We discovered that a shared experience among us is the confrontation with "authority," facing the top-down inheritance without questioning. This is the common ground we found and the topic we want to address in this work.

Thus, the stories of these seven actors correspond to several themes, including belief and anti-belief, Eastern traditions and Western traditions (Taoist chanting and the Bible), and the extension of anti-traditional concepts (reflecting on the belief in family altars). They narrate different experiences of escaping from and facing dilemmas (fleeing their country, facing offensive questions). There's also a segment that explores whether the story itself is more important than the way it is told.

Through these stories, we try to explore the phrase "inheriting traditional beliefs," focusing particularly on the concept of "inheritance" and critiquing it in the script.