原住民樂舞隨著臺灣社會、文化與政策變遷而逐漸改變其表現模式。從日治時代開始發展為具有觀光性質的山地歌舞節目,時至今日,原住民樂舞除了展現在觀光區及舞台上,亦時常為政治宣傳的工具。原住民樂舞亟力在找尋適合當前社會的表演模式,融合歌、舞、劇三要素的音樂劇,在近幾年的原住民展演中表現亮眼,且由於音樂劇的內容能加入更多原住民文化的表現,也因此有許多表演藝術工作者投入相關的創作。 本文旨在探究音樂劇運用原住民樂舞元素的現況,以《吉娃斯》為案例分析。以深度訪談及文獻探討做為研究方法。原住民樂舞加上戲劇元素,發展出音樂劇的形式是當前原住民大型展演的趨勢之一;在文化考究上,應尊重該族群或部落的表現方式;創作過程中需在文化創意與文化保育間尋求最適當的平衡點。原住民音樂劇是當前最具有潛力發展成為定目劇的表演形式,若能發展成功,其票房收益累積可做為表演人才的培育、田野採集的經費來源等,使之成為一自給自足的循環模式。
Taiwan Aboriginal Dance With the social, cultural and policy changes gradually change their expression pattern. From the Japanese colonial era with the development of mountain tourism nature dance program, Today, in addition to indigenous music and dance show on stage in the tourist area and is also often a political propaganda tool. Aboriginal Dance urgent search for the current social force in the performance model, fusion song, dance, play the three elements of musical performances in recent years, and because the musical content to include more of the original resident performance culture, and therefore there are many performing artists into the creative-related. This paper aims to explore the use of indigenous music and dance of the musical elements of the current situation to "Ciwas" is case analysis. Depth interviews and literature review are research method. Aboriginal music and dance with drama, developed in the form of musical performances is one of the current trend of large-scale stage performances. We should respect the way the performance of ethnic groups or tribes; the creative process to be creative and cultural conservation in the cultural seek the most appropriate balance between the two. Aboriginal musical is the most potential to become musical performances given project, if successfully developed, its cumulative box office receipts can be used as the cultivation of talent shows, and other sources of funding for field research, making it a self-loop mode.