「份」：臺灣雜技演員的身體技能

＂Fen＂:Taiwan acrobat's physical skills

郭憲偉(Hsien-Wei Kuo)

《體育學報》 53卷1期 (2020/03) Pp. 125-140

https://doi.org/10.6222/pej.202003_53(1).0008

摘要

緒論：本研究以臺灣特技團為例，旨在瞭解臺灣雜技演員的身體技能，並釐清雜技演員的身體觀念的養成，以及身體技能「份」的連續與創發性。方法：本研究以敘說研究來進行詮釋與分析，共訪談十名（男生五名、女生五名）臺灣特技團成員，年齡層涵蓋三十四至五十歲之間，學齡時間至少有六年以上，職業年齡也有十六年以上的實務經驗。而且每位參與者至少有二項專精的技藝，皆多次代表國家赴海外進行文化交流，也曾在國際雜技表演大會中獲獎無數。每位參與者約訪談三次至六次不等。結果：雜技演員在追求卓越身體技術時，必須在雜技訓練框架之中，培養其特有身體感，而這個訓練框架包含腰、腿、筋斗、頂的四大範疇，透過時間的「耗」、操作的「量」、動作的「竅」，建立起身體的「份」。「份」包含「找份→有份→塑份」等階段，找份是透過身體不斷操作與試煉的方式，尋找動作技術的訣竅；有份是透過一次又一次的實踐，將其動作的訣竅印記於身體之中；塑份指的是身體經由習慣模式的印記形塑出來的身體技藝，此會受到實務經驗或身體條件的影響而不斷地反覆調整修正，以符合該條件的想法、感知和活動，因而孕育出無窮的「創發性」，其身體已近乎「化繁為簡」的體態。結論：「份」存在於雜技演員身體技藝之中，它是一種默會知識，無法用言語表達出來，須透過個人親身體會與體悟才可能補捉或領悟到，進而印記於身體之中，起心動念皆能各自整合並創造該動作條件的身體樣態。

關鍵字

身體經驗 ； 敘說研究 ； 慣習 ； 雜技表演

並列摘要

Introduction: This study aims to understand the physical skills of Taiwanese acrobats and to clarify the development of the acrobats' physical concepts and the continuity and creativity of ＂Fen＂, the skills that are embedded in their body. Therefore, this study selected Taiwan Stunts Group as the main research object. Methods: This study uses narrative research as a method for interpretation and analysis. The ten participants interviewed are members of the Taiwan Stunts Group. They are half of men and women with the ages of 34-50. They have been studying acrobatics for at least six years and have more than 16 years of practical experience in professional performances, as well as each participant has at least two specialized techniques. The participants have represented the country on many occasions for cultural exchanges overseas. They have also won numerous awards at the International Acrobatic Performance Competitions. Each participant is interviewed about three to six times. Results: Acrobats must develop their unique physical sense in the acrobatic training framework when they are pursuing superior body techniques. This training framework consists of four categories of waist, legs, Somersault, and withstand (Ding). It is also through the ＂consumption＂ of time, the ＂quantity＂ of operation, and the ＂trick＂ of action. Finally, the body of ＂Fen＂ is constructed. This Fen body has three following phases: ＂finding fen→feeling fen→forming fen. Finding fen is to seek out the motion knack by repeating the same training. Feeling fen is to embed the knack into the body by continuous practices. Forming fen is to construct the sense of body by the marking habitus model. This will be influenced by practical experience or physical conditions and constantly adjusted and revised to meet the conditions of thoughts, perceptions and activities, thus giving birth to endless ＂creativeness＂. At this stage, the body is almost in a state of ＂transforming the complex skills into simple ones.＂ Conclusion: ＂Fen＂ exists in the physical skills of acrobats. It is a kind of tacit knowledge that cannot be expressed in words. It must be captured or understood through personal experience and understanding, and then imprinted in the body. Mind and thought can integrate and create a physical form of the action condition.

並列關鍵字

physical experience ； narrative research ； habitus ； acrobatic performance

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