柯慕一 komuyi
堤防邊
By the Embankment
清代古厝滲滿北管
An old Qing-era house,
soaked in the sounds of Beiguan music.
住在師傅的家族祖厝
I lived in the ancestral home of the master’s family.
我們隔了一道牆
A single wall between us.
響鈴，電話另一邊的師傅：
The bell rings—on the other end, the master’s voice:
喂，慕一 . . .
“Hello, Mu Yi…”
因為是生活的ㄧ部份
Because it was simply life.
每一通電話，連結著緊密的日常
Each call, a thread of daily closeness—
有時是師傅中午想吃米苔目或大橋頭的米糕
Sometimes the master craved mitaimu noodles for lunch,
or rice cakes from Daqiaotou.
師傅最喜歡大瓏市場裏的薄皮水餃
His favorite: thin-skinned dumplings from the Dalong market.
有一天，師傅一個人出門
One day, the master went out alone,
沒有播電話
without calling.
我們相遇在啟聰學校的路上
We met by chance, on the road near the school for the deaf.
走路趨近小童的師傅
He was walking toward a child,
手上提著一落盒裝的小美冰淇淋
one hand carrying a stack of boxed Xiao Mei ice cream,
一手插入口袋
the other tucked in his pocket.
我踩著腳踏車在廟前的街上
I was on my bicycle, riding past the temple street,
循著師傅指定的湯和隔壁的飯. . .
tracing the master’s voice—
the soup from this vendor, the rice from next door.
有時師母想要市場小藥房的抗痛寧
Sometimes, the mistress asked for pain relief
from the little pharmacy at the market.
一天
Then one day,
電話沒有像平常ㄧ樣
the call didn’t end as usual.
彼此一起讓通話終結
No gentle farewell.
沒有掛上的電話
The line stayed open—
持續著一方的聲音
only one voice speaking.
當下，我曾試著喚請：師傅
In that moment, I called back softly:
“Master…”
我一面
I kept
繼續感覺著日常
living our daily rhythm.
電話的聲響是師傅
The sound of the phone
was the master—
日常親近的細碎聲響
the delicate textures of closeness.
日光灼烈
The sunlight burned.
住在加熱的鐵皮屋裏
I lived in a tin-roofed room, heating like a kiln.
我光著身子
Bare-skinned,
想著快快著衣穿越小道
I thought to dress,
slip through the alleyways,
向師傅師母請安
and greet the master and mistress.
從工作室開門穿過古徑
From the studio,
I opened the door, walked the winding path
走到師傅和師母的房間
to their room—
這一段路
That short distance,
我沒有掛上這通奇異的日常電話
I never hung up
that strange, everyday call.
⸻
摯念小學徒的田野與無聲之聲
In loving memory—
The apprentice’s quiet fieldwork,
and the voice within silence.
台北，陳悅記老師府，傳統掌中戲
At Master Chen Yueji’s residence, Taipei.
Traditional glove puppetry.
有點羞怯的電話與田野圖說
A Quiet Call and Field Notes in Progress
這幾天
在台東的圖書館裏
梳理行進中的茅草屋圖說
These past few days,
at the library in Taitung,
I’ve been sorting through the evolving diagrams of a thatched field hut.
收到妳的訊息
讓正在創作
或說黏著的田野日常
變得有趣ㄧ些
Your message arrived—
it made the ongoing creation,
or rather, the daily fieldwork I’m glued to,
feel a bit more playful.
念起了這通有點羞怯的電話
It reminded me of a certain call—slightly shy, slightly hesitant.
（ 也許家中有爺爺奶奶的人
也曾收到這樣的電話 ）
(Perhaps those with grandparents at home
have received such a call too.)
2018 剛經歷法國的洞穴生活回到台灣，異地生出了濃烈的鄉愁。
In 2018, I returned to Taiwan after a season of cave-dwelling life in France.
A strong homesickness had grown while away.
ㄧ開始只是每天到師傅家喝茶，慢慢的開始為戲偶們修復衣布，最後住進了師傅的家（ 古厝裏有很多屋子 ）。
At first, I would visit the master’s home each day just for tea.
Gradually, I began mending costumes for the puppets,
and eventually moved into the master’s house (the old residence had many rooms).
這段時間，跟著師傅和師母ㄧ起參與劇團和平實的日常。
During this time, I lived alongside the master and mistress,
sharing the company and quiet rhythm of the troupe’s daily life.
當時在圖書館發現日本人類學和清代的台北古地圖，
漸漸的從傳統掌中戲的原點開始了島嶼的探索。
At the library back then, I discovered Japanese anthropological writings and Qing-era maps of Taipei.
From the origins of traditional glove puppetry,
I began an island-wide exploration.
楊力洲導演
曾長時間記錄師傅
紅盒子
Director Yang Li-Chou
spent years documenting the master—
The Red Box.
待續......