李漁戲曲美學在民族舞蹈編創中的應用

從李漁戲曲觀中「結構第一」的論點看，舞蹈藝術作品可以是結構完整、脈絡清晰、核心情感動人的表現；如果可以從「模糊含混」的意識中，試圖將舞蹈作品與觀眾所體悟的情境相呼應，使觀眾深切地感動，這才是提昇舞蹈表演藝術之藝術性與普遍性兼具的關鍵。藝術的真實是觀眾心領神會的重要關鍵，無聯繋的、模糊不清的舞蹈表現，是脫離真實自然的情境，無法觸動觀眾的內在情感而作良好的互動。反觀戲曲的言語表達的關係，更是注重「結構完整、核心主題清晰」。民族舞蹈的藝術創作是可以應用李漁「結構第一」中的概念，對於整個舞蹈創作的初步構想應包含所要表現「核心思想」、所要運用的「舞台效果」，關於舞台、燈光、佈景、道具、服裝的運用，透過由直覺出發而創作的肢體動作，完整地呈現出創作者的「藝術精神」。

關鍵字

李漁；戲曲美學；民族舞蹈

並列摘要

Drawing from the point of view of Li-Yu's aesthetics of performing arts, dance can be, as this research suggests, choreographed on the basis of three principles: the integrity of structure, the clarity of plot, and the manifestation of inner emotion. In this case, audience is expected by the choreographers to acknowledge correspondingly the manifested emotion, pondering on the magnitude and complexity of the dance through its given structure and plotting. The truth conveyed through the dance will then be revealed to the participants of dance as the ambiguous dance imagery becomes clear and present for choreographers, performers, and audience. It is this process of revelation that is the key strategy of choreographing and performing dance. Accordingly, Li-Yu's notion that the priority of a choreographer's concern in relation to choreography is the structuring of dance can be posited as the point of departure for choreographing Taiwan folk dance, as exemplified by the researcher's choreographic works around recent years. Derived from this core notion and the related three principles, the arrangement of stage design, lighting, costumes, props, together with the bodily actions and imagery on stage will all be falling into appropriate structural positions. Overall, the thematic spirit of a choreographer and a dance work can then be embodied and revealed with its clarity, magnitude, and implications.