美學變貌的未竟之志？－蘭陽舞蹈團《聽花人》

An Unfinished Project of an Aesthetic Transformation-The Lan Yang Dancers' ＂the Flower Listener＂

王鏡玲(Ching-Ling Wang)

《真理大學人文學報》 7期 (2009/04) Pp. 1-25

https://doi.org/10.29962/TOJA.200904.0001

摘要

本文闡釋蘭陽舞蹈團2002年舞劇《聽花人》如何突破過去以來官方意識型態與西方天主教教義在民族舞蹈符碼上的限制，借力使力，把矯飾的、制式化動作表情予以解構，拉向舞蹈符碼的能動性美學表現。筆者探討《聽花人》導演陳明才與編劇游源鏗，如何透過少女舞者青春清純特質，隱晦地呈現探詢生死意象的顫慄與迷惘；如何跳脫蘭陽舞蹈團既有的樣版「健康」、「優雅」、「溫馨」的意識型態，讓舞蹈美學既嚴肅又戲仿地流浪於明與暗、生與死的無盡宇宙逆旅。可惜，2002年的《聽花人》演出雖然企圖顛覆了舞團原先矯飾的制式化和諧，但是曖昧、虛無與嘲諷的意境，也導致舞劇自身風格上的錯亂，以致於整齣舞劇自身反而變成一場自我分裂的文化症候，付出了被歷史遺忘的慘痛代價。

關鍵字

蘭陽舞蹈團 ； 聽花人 ； 陳明才 ； 游源鏗 ； 民族舞蹈

並列摘要

This article focuses on one of the Lan Yang Dancers' most important works, ＂the Flower Listener＂ (2002), in which I would like to explicate how the director Chen Ming-Tsai and librettist Brady Yu broke through the constraints within both the official ideology and Catholicism in Taiwan, embedded in the Lan Yang Dancers' conception of Chinese folk dance. Seemingly, Chen and Yu transformed the girl dancers' youth and body language from an ostensibly elegant expression and an often taken-for -granted happy-ending style into a never-ending cosmic odyssey between light and darkness, life and death. However, Chen and Yu did not achieve the expected fusion of a new nihilistic aesthetics with the old ideology of the Lan Yang Dancers, and eventually lost their chance to bring in a new authentic transformation for the Lan Yang Dancers.

並列關鍵字

the Lan Yang Dancers ； ＂the Flower Listener＂ ； Chen Ming-Tsai ； Brady Yu ； Chinese folk dance