身體•歷史•性別•權力：舞蹈劇場與臺灣社會，1980s–1990s

Body, History, Gender, and Power: Dance Theatre and Taiwan Society, 1980s-1990s

陳雅萍(Ya-Ping Chen)

《民俗曲藝》 161期 (2008/09) Pp. 39-81

https://doi.org/10.30157/JCRTF.200809.0003

摘要

身體是舞蹈最核心的媒介。在傳統的舞蹈論述中，身體往往被視為是本質、先天、普同的存在，一個藉以探索及表達靈魂內在奧秘的最佳工具。然而，以德國編舞家碧娜•鮑許(Pina Bausch)為代表的舞蹈劇場卻以其特殊的劇場美學與表演策略，論述身體的「非自然」本質，以及其所再現的受社會、文化、人我關係形塑的人之主體(the human subject)。一九八○年代，舞蹈劇場的概念風格傳入臺灣，與當時正處於劇烈轉變的臺灣社會產生深刻互動，不僅提供舞蹈創作者與當下之政治、社會議題對話的方法，也突顯身體在威權/父權共構的體制中被模塑、制約、馴化的過程，以及做為權力抗爭與顛覆的可能場域。本文將從西方當代舞蹈的身體論述切入，繼而闡述鮑許的舞蹈劇場承襲歐洲二次大戰後的後結構主義思潮，其中的主體概念以及相應而生的身體觀，並指出舞蹈劇場與早期現代舞在這二項關鍵性議題上迥異的思考與作法。接下來將論述舞蹈劇場對臺灣當代舞蹈的啟發，並以林懷民一九八○年代的創作和陶馥蘭、蕭渥廷的作品為例，探討舞蹈劇場的美學與表演策略和臺灣在地的社會、歷史與權力意識進行結合或對話的多樣面貌。最後，將以臺灣舞蹈劇場破解國族主體與性別窠臼的在地展現作為論述的總結。

關鍵字

舞蹈劇場 ； 臺灣當代舞蹈 ； 身體論述 ； 主體性 ； 性別議題

並列摘要

The body is the primary medium of dance. In conventional dance discourses, it is often regarded as an essential, pre-discursive and universal existence, a neutral instrument for exploring and expressing the innermost mystery of the human soul. However, German choreographer Pina Bausch’s dance theatre, by means of its unique theatre aesthetics and performance strategy, narrates a discourse about the ”unnatural” nature of the body and the construction of human subjectivity through social, cultural and inter-personal relationships. In the 1980s, the concept and style of Bausch’s dance theatre were brought into Taiwan and engaged in a rich dialogue with the drastically transforming Taiwan society. It not only provided Taiwanese dance creators with an effective means to interact with current socio-political issues, but also presented the body as a site of power struggle and possible subversion. This essay begins with a narration of the discourses in Western contemporary dance on the body and compares them to Bausch’s dance theatre, which resonates with the poststructuralist delineations of the human subject and their corresponding body discourses. Against this aesthetic and philosophical background, the essay then discusses how dance theatre inspired the Taiwanese dance scene in the 1980s and 1990s, with examples of choreographies by Lin Hwai-min, Tao Fu-lann and Hsiao Wo-ting. It explores the many manifestations of dance theatre’s integration and interaction with local history, socio-political issues, and the awareness of unbalanced power structure in Taiwan. In conclusion, the essay addresses how Taiwanese dance theatre deconstructed the official nationalist subjectivity and challenged gender stereotypes, thus confronting the dual structure of autocracy/patriarchy ruling the Taiwan society at the time.

並列關鍵字

dance theatre ； Taiwanese contemporary dance ； body discourse ； subjectivity ； gender

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