儘管「講述表演」（lecture performance）在近年逐漸成為常見的藝術實踐，但在面對此一結合講述及表演的混種形式時，基於不同領域及實踐位置，所發展出的不同定義，經常造成評判上的誤解。講述表演的發展，咸認為同步於1960及70年代前衛藝術、機制批判及另類教育的發生，2000前後則迎來另一波高潮，本文藉由比較分析羅伯特・莫里斯（Robert Morris）《21.3》（1964）及薩維耶・勒華（Xavier Le Roy）《情境產品》（1999）兩件講述表演的經典作品，並回顧講述表演近年論述方向，在將「講述—表演」視為寄生關係的視角下，三分為「影像—言語—身體」，並裂解出其他組配：「言語—行動」及「論文—電影」，藉此，試圖在將講述表演視為當代藝術流行趨勢，或上個世紀歐美觀念藝術的遺緒之外，提陳以美台團辯士作為台灣講述表演的另類起源的可能性。
講述表演、辯士、寄生、言語行動理論
Following the gradual acceptance of "lecture performance," the mixed origin of a lecture performance has also resulted in misjudged and insufficient reading due to a disciplinary-bonded position of recipiency. The emergence of lecture performance has been widely seen as a concurrence of the avant-garde movement, institutional critique, and alternative pedagogy proposal in the 1960 and 1970, which follows with another resurgence around 2000. Through comparative reading of two iconic works of lecture performances, namely Robert Morris's 21.3(1964) and Xavier Le Roy's Product of Circumstances(1999), the essay revisits the discursive development of lecture performances in recent years. By positioning "ecture-performance" in a parasitic framework of intersubjectivity, the paper examines the tripartite strsucture of "imagespeech-body" as well as other assemblages: "speech-act" and "essay-film". The essay aims to propose an alternative genealogy of lecture performance in Taiwan by considering the role of Benshi facilitated through activities of the Taiwanese Cultural Association.
Lecture Performance, Benshi, Parasite, Speech Act Theory
