在欧洲现代主义话语中深具影响的“残酷戏剧”实际上是一种不受成规 ,尤其不受语言限制的极端化的戏剧。影戏剧系毕业的台湾作家苏伟贞 ,在其得奖小说《沉默之岛》中也展现了一种类似却又更为复杂的戏剧张力。这表现在三个方面。首先 ,“沉默之岛”是一个“心灵的岛屿”———主人公晨勉的双重人格分裂恰恰说明了心理挖掘的不可能性 ,因为真正的心灵创伤与正常的叙述语言是不相容的。其次 ,“沉默之岛”是一个“无言之岛” ,隐含了一种类似语言黑洞中文学意义的不确定性。最后 ,“沉默之岛”是一个“身体之岛” ,岛中那样一种台湾解严前政治与军事高压下受过严格训练的简单、纯洁、规整的身体 ,正在滑入不可言说的欲望的深渊。苏伟贞也就这样完成了从以《袍泽》、《走向同方》等作品闻名的“眷村作家”到孤独的个人文字之旅的转变 The “brutal drama” that has deep influence in European modernist discourse is actually an extreme drama that is unconventional and especially not language-bound. Su Wei-ching, a Taiwanese writer who graduated from drama Department of Drama, also showed a similar but more complicated drama tension in his award-winning novel “The Island of Silence.” This is reflected in three aspects. First of all, Silent Island is a “island of mind”. The dual personality split of the heroine Chen Mian precisely illustrates the impossibility of psychological excavation because the real trauma of the soul is incompatible with the normal narrative language. Second, “Silent Island” is a “silent island”, implying a kind of uncertainty similar to the linguistic meaning of language black holes. Finally, Silent Island is a “body island,” a simple, pure, regular body that has been rigorously trained by Taiwan under the pre-solo political and military pressure as it was before. It is slipping into the abyss of unspeakable desires. Su Weizhen has also done this from the “gentleman”, “Towards the same side” and other works known as “dependents village” to a lonely personal writing journey