民族舞蹈創作的藝術本性：在遮蔽與無蔽之間

民族舞蹈是一種根基於民族文化血源的藝術，它在近代的發展受到了嚴峻的考驗，在傳統與創新之間、在理性與感性之間存在著矛盾，因此，在創作上面臨了極大的困境。本文從海德格的現象學理論切入，探究其藝術本性，遮蔽與無蔽是海德格現象學的基本理論，該理論強調出藝術本性就存在於遮蔽與無蔽相互轉換的機制上，海德格認為藝術的本性是真理自行置入作品。藝術作品的審美存在是在不斷地詮釋中生成的，舞蹈是透過身體動作來詮釋藝術本性的，它是變動性的存在。民族舞蹈創作時的關鍵在於創作者、作品、藝術三者之間的循環關係，三者之間是互為因果的存在關係。這表示了藝術本性是無蔽的，是變動不居的。關於詮釋民族舞蹈創作的藝術本性，從現象學無蔽的視角來看，對於作品的詮釋應將自我置入作品，再由作品自身立場出發來詮釋作品，以避免遮蔽的詮釋。

關鍵字

民族舞蹈；藝術本性；遮蔽；無蔽

並列摘要

The folk dance is an art which is on the basis of national culture and blood source. Its development has received a severe test in modern times because of the conflict between tradition and innovation, reason and perception; therefore, it is unavoidable to face a great predicament in creation. Through Heidegger's phenomenon, this study examines the nature of art. Concealing and uncovering are two of the basic concepts of Heidegger's phenomenon, which emphasizes the artistic natural instinct of mutual conversion of concealing and uncovering. Heidegger thought the nature of art is the truth and by itself placed into the work. Artistic works are constantly produced in explanatory annotation. The dance passes the body movements to annotate the nature of art, which is the change existence. The key point of creating fork dance lies in the circular relationship among the creator, the work and art which are in reciprocal causation. This has shown that the nature of art is uncovering and variable. As to explaining the art nature of folk dance creation, from the phenomenological uncovering point of view, the creator should put himself into the annotation of work, and then from the work itself explain the work in order to avoid the annotation of concealing.