臺灣的街舞運動從1980年代初期開始發展,就風格與類型上來說,臺灣成功的將發源於美國的次文化街舞藝術轉換為臺灣的在地文化,街舞在臺灣已經逐漸離開次文化的核心,進而成為一種眾所周知的藝術與運動。在這個基礎上,許多臺灣的街舞創作者開始吸取其他早於街舞的藝術形式做為創作途徑,這種傾向使得街舞開始從「室外」走向「室內」,從沒有燈光舞臺的「街頭」轉移到有各種舞臺技術設備的「劇場」,至此,發源於街頭的舞蹈開始「像」劇場表演藝術的呈現。在臺灣街舞嘗試跨領域的方式中,大致上有多媒體的介入、街舞與雜技藝術的結合、空間場域的設計、服裝秀的轉嫁、戲劇元素的參與等幾個跨領域面向。本文主要的論述,就是針對近幾年街舞開始走入劇場空間所採取的跨領域嘗試做探討與分析,提供未來街舞運動藝術創作者在跨領域創作時的建議參考。
The Hip-Hop Dance development in Taiwan began in early 1980s. In terms of styles, Taiwanese Hip-Hop Dance successfully transformed Hip-Hop Dance art, an American subculture, into local culture. Hip-Hop Dance has successfully transformed into a popular art/sport. On this foundation, many Hip-Hop Dance choreographers start to absorb other art formats which were developed earlier than Hip-Hop Dance. This tendency leads Hip-Hop Dance from outdoor, streets without lights, to indoor, theaters with sufficient facilities. The dance originated on the streets starts to look like theatrical arts. For example, the involvement of multi-media, combination of Hip-Hop Dance and acrobatic, design of the space, adaptation of fashion shows and engagements of theatrical elements, etc. are regular approaches of cross-disciplinary. The discourse of the essay is to study and analyze the cross-disciplinary approaches of this research was Hip-Hop Dance in theaters and to provide references to future choreographers.