2025臺東藝術節《我好不浪漫的當代美式生活》

「要當個堂堂正正的太巴塱人，是需要練習的。」

巴奈・林（Panay Lin），從小在臺北長大的阿美族都市原住民，某晚夢見白螃蟹之靈召喚她回到媽媽的部落，期望她振興太巴塱文化。巴奈林受到感召，毅然決然成為返鄉青年，在部落的美語安親班找到工作，並以此作為傳承基地，用美語「偷渡」Pangcah文化給班上的小孩。巴奈林盡心盡力參與部落事務，務使部落的男女老幼「回歸優秀的太巴塱傳統」——

當然，事情絕對不會是天真的返鄉青年想得拿、莫、簡、單！

《我好不浪漫的當代美式生活》為Ihot Sinlay Cihek於2022年創作之獨角戲。旅居都市多年，Ihot時常臺北、花蓮兩地往返，觀察到原青返鄉進行文化復振的潮流，並在與家人和部落兄弟姐妹的互動中，看見返鄉原青對於融入部落的困難與尷尬。血緣、身體與行動，對於部落的承認究竟有多重要——你要付出多少，才能被視為部落的一分子？

承襲了阿美族口傳文化的言說精神，《我好不浪漫的當代美式生活》即以Ihot一人分飾多角，分別呈現部落內不同小人物的面向，以大量語言與日常情境拼湊出太巴塱部落的生活場景，扣合「觀光」對於當代原住民部落不可忽視，且不可恢復的影響，直面原住民文化工作者回返部落「傳統」後所遇到的種種挫折、碰撞與荒謬。

How Romantic: A Guide to Modern Pangcah Life is a lyrical solo performance by Ihot Sinlay Cihek, first staged in 2022. It follows Panay Lin, a city-born woman stirred by a dream of a white crab—a spectral emblem of her Tafalong ancestry. Interpreting the vision as a spiritual summons, she abandons her urban life in Taipei and journeys back to a homeland she scarcely knows. There, she immerses herself in cultural revival, only to confront a community already reshaped by the logic of modern capitalism. As tradition collides with contemporary disillusionment, Panay is forced to reckon with her romantic ideals, her fractured belonging, and the intricate dance between heritage and identity.

｜編導演｜

Ihot Sinlay Cihek（卓家安），花蓮太巴塱、壽豐部落阿美族人，活躍於花蓮與台北之間的表演藝術創作者。具編劇與表演訓練背景，創作關注身份政治、性別理論與表演哲學。自2018年起深入探索母系部落文化，以劇場實踐處理原住民女性在部落與都市、傳統與現代之間的文化斷裂與身體記憶。作品《我好不浪漫的當代美式生活》入圍台新藝術獎，《神話與笑話》入選Pulima演出平台，亦獲多項文學獎肯定。近期作品：《她（阿公的）那把獵刀》。

Ihot Sinlay Cihek (she/her) is a Taiwanese theatre and performance artist of Pangcah descent from the Tafalong tribe in Hualien. Since 2008, she has been actively engaged in the development of performance-based work that interrogates the intersections of indigenous identity, feminist thought, and contemporary Taiwanese cultural politics. Drawing on anthropological methodologies and experimental modes of spectatorship, her practice seeks to articulate a corporeal language of indigeneity—one that resists essentialism while foregrounding embodied presence as a site of cultural negotiation.

Her artistic inquiry often centers on the affective and aesthetic tensions between tribal experience and urban modernity. Whether through performance art or literary-based theatre, Ihot positions herself as a critical “flâneuse,” traversing the liminal spaces between cities and indigenous territories. She works as playwright, director, and performer, constructing narrative frames that hold space for memory, displacement, and reimagined lineage.

｜藝術團隊｜

編導演｜Ihot Sinlay Cihek

Playwright/Director/Actor｜Ihot Sinlay Cihek

執行製作｜王冠勲

Executive Producer｜Wang Guan-Shun

舞臺監督｜張智一

Stage Manager｜CHANG Chih-Yi

舞臺設計｜張皓媛

Set Designer｜CHANG Hao-Yuan

燈光設計｜黃俊諺

Lighting Designer｜HUANG Chun-Yen

燈光技術指導｜吳子嫻

音響設計｜陳旭華

Sound Technician｜CHEN Hsu-Hua

音效設計｜簡嵩恩、蔡秉衡、嘎造・伊漾、游以德、徐堰鈴

Featuring Music Artists｜CHIEN Sung-En, TSAI Ping-Heng, Kacaw Iyang, Sayun Nomin, HSU Yen-Ling

戲劇構作｜張笠聲、朱耘廷、李學明

Dramaturgs｜CHANG Li-Sheng, CHU Yun-Ting, LI Hsue-Ming

◎節目長度：60分鐘

◎建議觀賞年齡：12歲以上

◎使用語言：Pangcah、華語、英文

◎週六下午場有演後座談