入鏡、過境、出境？－葉石濤、章緣小說中的臺灣女舞者及其舞臺追尋

以「身體」為媒介的舞蹈藝術，相較於日治時期其他藝術的引入臺灣，可謂啟蒙最晚的現代藝術，因此也就有了可以從性別、身體來探索的可能。本文透過兩位臺灣不同世代小說家的作品：葉石濤（1925-2008）以第一代赴日習舞的臺灣女舞者為原型創作的〈青春〉（1965）、〈紅鞋子〉（1988），以及章緣（1963-）描述九○年代留美學舞的〈舞者莎夏〉（1995）來做觀察舞作。小說裡的背景時空，恰好形構與接續出臺灣舞蹈史的發展進程：從戰後初期至九○年代，以及由日本、臺灣、再至美國的國境移轉。小說裡不同世代的臺灣女舞者，皆在其時代選擇前往美國尋找舞臺，新大陸成為臺灣女舞者的新故鄉，也等同揭露臺灣舞蹈環境的條件和限制。此外，兩代女舞者也都一致的面臨到父權的政治姿態，包括婚姻和母職的挑戰。因此，一「身」舞藝的臺灣女舞者，其入境、過境和從臺灣出境的身影，其實開啟出的，是一道身體、性別與家國對話的習題。

關鍵字

現代舞；女舞者；葉石濤；章緣；臺灣舞蹈史

並列摘要

Comparing with the growth of other modern arts that recognized immediately by people when imported during Japan-dominated period, the choreography can obviously be named ＂belated modernity＂ even though dancers make good use of or emphasize their ＂bodies＂. Thus, we'll discuss the Taiwanese female dancers in this article via the point of view of sex. The novels, ＂The Youth（青春）＂＂The Red Shoes（紅鞋子）＂ written by Yeh Shih-tao （葉石濤） and ＂The Dancer Sasha（舞者莎夏）＂ written by Jang Yuan （章緣）, we'll discuss seem display a process of dance history in Taiwan.. They showed continuity of time （from 1945 to 90'） and changing of space (from Japan, Taiwan to the America). The female dancers of two generations, that show their differences in bodies and in careers from general females, between these two novels thus conceive ways of interacting with different gender. The differences of their encounters and of the results of interacting with different gender are the focus here. Moreover, the absolute destiny of Taiwanese female dancers to wander about territories gives a topic dealing with genders and yearning for nations. This also helps us to think about the existence and situation of dance in Taiwan.