從《異鄉人》回望潘世姬作品中「性別」及「國族」意識之音像建構

A Retrospective on Soundscape Creation Related to ＂Gender＂ and ＂National＂ Consciousness in Shyh-ji Pan's Works from The Stranger and Her Wishes

林幗貞(LIN, Kuo-Chen)

《臺灣音樂研究》 27&28期 (2019/05) Pp. 63-90

https://doi.org/10.29785/FJMR.201905_(27_28).0003

摘要

作家郭松棻以小說《驚婚》書寫經歷兩個時代、臺灣島國異鄉人之生命樣態，作曲家潘世姬則以管絃樂曲《異鄉人》；敘寫臺灣島上知識分子延續迄今、無以名言之悲涼「亡國感」，及屬於島國人共同的精神鄉愁。在此，「音樂書寫」作為一種表意之媒介，已不僅為書譜文本或聲音呈現，更是呈載創作者之情緒語言及音像建構的印記。本文以潘世姬1990年迄今之音樂創作為研究基底，藉訪談及文本分析，探究其作品風格展現之「性別」特質及「國族」意識。回望潘世姬音樂作品，自1998年《黑夜》以「母親」角色關注二二八臺灣歷史悲劇、1999年反芻女性自覺及婚姻議題之管絃樂曲《夜雨－給一位四十又幾朵花的女人》，乃至2011年《大磺嘴隨想》、2014年《兒時情景》關於「鄉愁」之敘寫……女性書寫，屐痕年久月深，關於當代價値之認知與自身眞實感受，潘世姬充分展示女性作曲家特有之細膩與風格樣態。於國族意識上，潘世姬立場鮮明；然在音樂創作上，卻不似許多臺灣當代作曲家多以意涵政治符碼之「本土」作為創作元素，反而弔詭地異常「中國」，此或許與潘世姬師事中國旅美作曲家周文中，並受其影響甚深有關；然而在幾次訪談及近年來持續的往來對話中，筆者深刻體認，「潘世姬始終以正面且包容態度，審視及思辯『文化中國』之種種，或才是其音樂書寫始終存在『中國』或稱『東方』元素之主因。」（林幗貞2009，150）關於前衛與傳統之距離，面對政治與文化間之矛盾，潘世姬始終以柔軟卻亦堅毅之姿態擺盪其間，並以其獨特音樂語言，持續以音樂、以詩，觸探臺灣國族歷史甚或當下政治敘事永遠到不了之所在。

關鍵字

臺灣當代音樂 ； 創作與性別意識 ； 國族認同 ； 潘世姬

並列摘要

In novel ＂Jinghun,＂ novelist Song-fen Guo depicted the life of a stranger on Taiwan Island through two eras. In the orchestral piece ＂The Stranger and Her Wishes＂ (2015), composer Shyh-ji Pan reflected on the dismal ＂feeling of national subjugation＂ that is beyond description and sympathises with the island's intellectuals and the homesickness they share. Here, music composition, as an ideographic medium, presents not only text and sound but also the composer's emotional language and imprint of soundscape creation. Based on Pan's compositions since 1990, this paper, through interviews and textual analysis, explores ＂gender awarenesss＂ and ＂national consciousness＂ reflected in her works. It reflects on works such as ＂Night＂ (1998), which expressed concern for Taiwan's historical tragedy of the February 28 incident through the role of ＂mother,＂ to the orchestral piece ＂Night Rain-For a 40 years old Woman＂ (1999), which ruminated on feminine consciousness and marriage issues, and on ＂Huang Zui Capriccio＂(2011), ＂The Childhood Scene＂ (2014) and ＂The Stranger and Her Wishes;＂ these works emphasize ＂homesickness,＂ and the feminist writing style that emphasizes Shyh-ji Pan's long-standing recognition of contemporary values and her own true feelings. She has fully demonstrated the delicacy and style peculiar to female composers regarding her cognition of contemporary values and real feelings. She takes a clear stand on national consciousness. However, in terms of music compositions, unlike many contemporary Taiwanese composers who use ＂native land＂ with political symbols as creation elements, she is paradoxically and extremely ＂Chinese.＂ This may be influenced by Pan's learning from Chinese composer Wen-Chung Chou while travelling in the United States. In recent interviews and communications, the author has realized that 'Pan has always been positive and inclusive in examining and speculating on all aspects of ＂cultural China,＂ possibly the reason for the ever-present element of ＂China＂ or the ＂Oriental＂ in her compositions.＂ As for the distance between avant-garde and tradition, and the contradictions between politics and culture, Pan has always swayed between them with a soft yet firm attitude. With unique musical language and poetry, Pan continues to probe into the history of the Taiwanese nation-including the shortcomings of the current political narrative.

並列關鍵字

Taiwan's contemporary music ； compositions and gender awareness ； national consciousness ； Shyh-ji Pan