真實的幻象——周書毅《S》《0》《1875》的臨在

On the Illusions of Presence——Shu-yi Chou’s S, 0, and 1875

李宗興(Tsung-Hsin Lee)

指導教授 ： 陳雅萍

國立臺北藝術大學/舞蹈學院學術論文/舞蹈研究所理論組/碩士(2013年)

https://doi.org/10.6835/TNUA.2013.00031

摘要

二十至二十一世紀的臺灣舞壇發展，不斷在各種養份的滋養中發展出新的舞蹈形式、語彙及概念。在新世代編舞家行列中，周書毅以獨特的劇場語言與創新的劇場美學讓人驚豔，以筆者自身觀賞經驗，周書毅於二○○七年發表的劇場舞蹈作品《0》、《1875》令筆者感受到不同層次的當下現實感受，為進一步探討經驗中不同的「真實」感，便以同年發表的三支作品《S》、《0》、《1875》為研究文本，並援引劇場研究中與「真實」最為接近的「臨在」論述，作為分析與討論的工具。

本研究以鮑爾(2008)提出「臨在」的三種模式：虛構模式、靈光模式與直白模式，以及其呈現不同層次的「臨在」幻象作為分析的主要依據，並依此架構分析周書毅《S》、《0》、《1875》三支作品中不同層次的「真實」感受。由分析可以發現，周書毅舞作中混雜交替的臨在幻象，引領觀者想像的介入，展開多層次的詮釋可能，進而思考舞作主題所探究的意涵。同時，舞作中的臨在也呈現出周書毅對於動作僅作為美感再現的抗拒，取而代之的是以日常為基調的動作特質，以及動作作為刺激的反應成為其編創的主要特色，展現出周書毅對於舞蹈動作的美學追尋。

關鍵字

周書毅 ； 臨在 ； 真實

並列摘要

To date, forms, vocabularies and concepts of theatrical dance have been continuously developed and evolved in Taiwan since the 20th century. Chou Shu-yi, one of the Taiwanese choreographers of the new generation, has amazed international audience with his unique theatrical language and innovative aesthetics of theatre. In retrospect of watching Chou’s dance works titled 0 and 1875 in 2007, the author recalled that multi-layered notion of presence could be perceived at the moment of viewing. In order to further explore the various senses of “reality” in the author’s personal viewing experience, three dance works, S, 0 and 1875, all of which premiered in 2007, were analyzed by means of the discourse of presence in theatre research.

In conducting this study, different levels of reality sense in S, 0 and 1875 were analyzed according to the basic structure of three modes of presence proposed by Cormac Power (2008), namely fictional, auratic and literal mode, as well as the different levels of “presence” illusions presented by such. The study discovered that the mixture and alternation of presence illusions in Cho’s works allowed the audience’s imagination to get involved, which furthermore opened up the probabilities of interpreting connotations in these dance works. In addition, the modes of presence expressed in these works indicated resistance against direct representation of aesthetics. Instead, the characteristics of daily-life movements, together with how movements as responses to stimuli became his distinguished choreographic feature, both demonstrated the choreographer’s pursuit for his unique aesthetics of theatrical dance.

並列關鍵字

Chou Shu-yi ； presence ； reality

參考文獻

鄒之牧。(2009)。戴著安全帽理性起舞　回看二○○八年的周書毅。PAR表演藝術雜誌，(195)，80-82。

陳雅萍。(2008)。身體•歷史•性別•權力：舞蹈劇場與臺灣社會，1980s–1990s。 民俗曲藝，(161)，39-81。

林祐如。(2008)。【三十歲以前......】和我的角色詮釋。國立臺北藝術大學。未出版碩士論文。

陳怡君。(2008)。「三十歲以前•••」關於表演的三種經歷。國立臺北藝術大學。未出版碩士論文。

許瑋玲。(2010)。【三十歲以前……】我的舞台實戰與角色詮釋之經驗。國立臺北藝術大學。未出版碩士論文。