當「宣言表演」交會「後設策略」，表演的言說行動者遂成為不可盡信之人，創作者常以自我調侃和自省，以及玩笑、把戲、悲喜鬧劇、騙局等手段，輔以污穢與瀆神的筆法，將作品變造為一處渾濁化空間，在既有的概念分隔門檻上，懸置且玩忽。 第一章分析黃華成的舞台劇本如何與空間裝置共構，呈現在觀眾席的演出，藉此偷渡對於僵化觀／演關係的慣習冒犯與觀念挑釁；第二章，試論蘇育賢《先知》錄像裝置（2016）的檔案行動與展場布置，如何作為原作劇本的後製與擴延版本。第三章接續舞台設計論題，以未製作的〈佈景〉（1965）與未發表的〈淨身〉（1966）劇本為例，探討污穢書寫如何干擾了劇場／世界，神聖／世俗，藝術／生活之間的界分扞格，並以黃華成作品內部諸種宣言行動的互文關係，延伸到第四章，展開關於「大台北畫派宣言」發表介面，包括「大台北畫派秋展」和畫派十周年、三十周年紀念活動的討論，聚焦於事件性，並觀測黃華成創作版圖預設的「虛線」與付諸實行的「實線」之間的交會和異軌，及其所體現的創作方法與姿態。;Huang Hua-Cheng (1935–1996) was a restless polymath who， since the 1960s， traversed the realms of fiction， graphic design， experimental cinema， screenwriting， and avant-garde exhibitions. Today， he is retrospectively recognized as a pioneer of installation and conceptual art in Taiwan. While many of his anecdotes and "lost works" await rediscovery， this paper aims to delineate the untapped territories within both "Huang’s methodology" and the "methodology of studying Huang." Starting with an examination of his handwritten ′Writing Project Lists，′ this research methodologically operates through a bidirectional temporal ′recursive′ process: exploring the cultural conditions of the 1960s in which Huang was situated， while simultaneously examining how his creative output is interlaced with the drives of return within the contemporary artistic gaze.
This paper adopts the term "performance texts" to bridge two temporal extremities in Huang’s performative map: his debut original play The Prophet (1965)， first published in Theatre Quarterly (1965-1968)， and his self-staged "living funeral" exhibition， The 30th Anniversary of the École de Great Taipei， held shortly before his passing. By interlacing examples from Huang’s experimental imagery， design practices， and artistic proposals， this study elucidates that "manifesto-performance" serves as a primary method in his orchestration and execution of performance texts. These "manifestos" consistently point toward a "Grand Project"—a meta-project voiced through the persona of a scribe. It is a project of projects， an action of actions， and a script of scripts; it embodies the "meta" in its sense of intention， self-reflexivity， and transcendence.
When manifesto-performance intersects with meta-strategies， the performative agent becomes an unreliable narrator. Through self-mockery， introspection， and the deployment of jokes， tricks， tragicomic farces， and hoaxes—often rendered with a touch of profanation and filth—Huang’s work transmutes into a profane space. Within this space， the thresholds of established conceptual categories are suspended and returned to a state of play.
The first chapter analyzes how Huang’s stage scripts co-constitute with spatial installations to relocate the "performance" into the audience’s seating area， smuggling in a conceptual provocation against the habits governing the acts of beholding and performing. The second chapter examines Su Yu-Hsien’s video installation The Prophet (2016) as an archival act and exhibitionary arrangement， exploring how it functions as a post-production and expansion of the original 1965 script. Shifting to Huang’s stage design， the third chapter utilizes the unproduced The Scenery (1965) and the unpublished The Unholy Ablutions (1966) to discuss how "filthy writing" corrodes the thresholds between theater/world， sacred/secular， and art/life. Finally， the fourth chapter traces the intertextual manifesto-actions within Huang’s oeuvre to the interfaces of the Manifesto of the École de Great Taipei， including its Autumn Exhibition and the 10th and 30th-anniversary events. By focusing on "eventness，" this study observes the convergence and divergence between the "dotted lines" and "solid lines" in Huang’s creative map， thereby elucidating his idiosyncratic creative posture and methodology.
