臺灣當代劇場之高空展演美學──以舞臺劇《孽子》高空綢吊跨界詮釋為例

傳統雜技的高空技藝表演從古至今的變化性極大，從中國傳統戲曲裡穿插的戲曲特技，至現今因社會型態的轉變，綢吊表演也隨著時下健身的風潮與時俱進，透過創作、跨界的合作進而踏入現代劇場，發展出一種新穎的綜合表演藝術型態，當代高空綢吊運用跨領域展演技巧融入現代表演文化，同時結合音樂、舞蹈、戲劇、舞臺設計等元素進行跨界展演。本研究以雜技史學、跨界理論為基礎，欲以美學的角度進一步解析舞臺劇《孽子》經典文學跨界高空展演，探討劇中高空綢吊的演繹所蘊含的美學及意涵，此外，本研究發現，此齣跨領域展演著重同志情感間的糾葛為創作主軸，將濃烈磅礴的情感藉著綢吊結合舞蹈的編排，以去聲道化、純以肢體語彙，成功將角色對彼此間濃烈的情感以不同樣貌做呈現，使高空綢吊賦予新的表演面向，有別於早期高空技藝重於呈現技巧多過於意境的延伸與詮釋。透過跨領域元素的相互交融，現今的高空展演形式已無固定的限制，逐漸打破框架，貼近人們的生活與豐富表演形式的多樣化與可能性，本研究期望有助於未來相關研究進一步探討跨界高空展演美學之其他思考觀點與面向，並作為未來創作及策劃跨界高空藝術展演之參考。

關鍵字

雜技；綢吊；美學；跨界展演；《孽子》

並列摘要

Aerial skill performances in traditional acrobatics have changed substantially over time. In the past, traditional Chinese operas involved special theatrical techniques. As the society changes, aerial silk has evolved from being a popular exercise to being incorporated to contemporary theaters through creation and cross-boarder cooperation. A brand-new type of comprehensive performance art is thus created. Aerial silk performance utilizes cross-domain performance skills to integrate with contemporary performance culture. It also integrates elements such as music, dance, drama, and stage design to conduct cross-border performance. With the history of acrobatics and cross-border theories as the basis, this study examined the cross-domain aerial performance of the classic literature Crystal Boys from an aesthetical perspective, clarifying the aesthetics and meanings contained in the interpretation of aerial silk in the play. We discovered that this cross-domain performance emphasized the entangled homosexual relations as the major theme. Strong and majestic emotions were presented in different features by integrating aerial silk with dances. By removing words and purely relying on body language, this play succeeded in presenting the strong emotions between characters in a different light. Aerial silk provided the performance with a new characteristic, which is different from the early aerial skills that emphasized the skills over the extension and interpretation of the artistic conception. Through the integration of cross-domain elements, the current aerial performances are not limited to a fixed form; rather, they have become close to people's life with rich diversity and possibilities. This study is conducive to future studies in related fields in its discussion in the diverse thinking perspectives and aspects of cross-domain aerial performance aesthetics, providing a reference for future creations and curations of cross-domain aerial art performances.

並列關鍵字

Acrobatics ； Aerial Silk ； Aesthetics ； Cross-border Performance ； Crystal Boys

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