從接受美學探究跨界詮釋──以2014年美國馬里蘭州大學交響樂團《阿巴拉契亞的春天》版本為例

隨著社會精神文明的不斷進步，人們對於表演形式的發展概念與範疇的認知越發廣闊。相同的作品在不同時代裡的，由於供給端的審美態度與美學角度的轉變，作品往往會呈現出各種不同的詮釋方式。然而，接收端心裡的各種不同的美學思想觀念與行為方式又與供給端產生了迴圈交互的關係，並持續發生隱性驅動。從巴洛克時期至今，縱觀整個悠長的舞臺表演藝術發展史，從宮廷走向劇場，表演藝術一直在發生著空間的變化、形式的變化甚至到當代不斷多樣化的多元藝術媒材的跨領域劇場的演變。2014年由詹姆斯．羅斯（James Rose）構思、利茲．勒曼（Liz Lerman）動作設計與美國馬里蘭州大學交響樂團合作的《阿巴拉契亞的春天》引起研究者的興趣，該劇完全拋棄了1944年由瑪莎格萊姆創作的原版芭蕾舞劇的敘述方式，將原本只有八位芭蕾舞者為中心的舞臺表演方式改變成由整個交響樂團的樂手與兩位芭蕾舞者共同在舞臺上完成，並搭配舞臺燈光、樂團樂手的走位以及樂手樂器的肢體配合呈現，讓樂器在舞臺上隨著音樂「起舞」，這樣的演出與詮釋為《阿巴拉契亞的春天》帶來革命性的突破。本研究將透過「接受美學」（Aesthetics of Reception）的理論，從堯斯的「期待視野」與伊瑟爾的接受理論來分析2014版《阿巴拉契亞的春天》之內容及呈現方式。以觀眾的角度來欣賞該劇時，接收端在接受作品前的定向預期與美學認知的心理歷程。旨在由此即時流變，探討傳統劇情到當代劇場的詮釋問題。為跨界藝術展演貢獻一己之力。

關鍵字

跨界詮釋；接受美學；阿巴拉契亞的春天

並列摘要

With the continuous progress of social spiritual civilization, people's cognition of the development concept and category of ballet is more and more broad. For the same works in different times, due to the change of aesthetic attitude and aesthetic angle of the supply side, the works tend to show different ways of interpretation. However, the different aesthetic ideas and behavior patterns in the receiver's mind have a circle interaction relationship with the provider, and continue to have a recessive drive. From the Baroque period to now, throughout the long history of stage performance art, from the palace to the theater, the performance art has been changing in space, form and even to the contemporary diversified multi art media cross field theater. In 2014, the spring of Appalachia, conceived by James rose, designed by Liz Lerman and cooperated with the Symphony Orchestra of the University of Maryland, attracted researchers' interest. The play completely abandoned the narrative mode of the original ballet created by Martha Graham in 1944, and changed the stage performance mode that originally had only eight ballet dancers as the center into the stage performance mode that the musicians of the whole symphony orchestra and two ballet dancers were in common It is completed on the stage and presented with stage lighting, the movement of orchestra musicians and the body coordination of musicians' instruments, so that the instruments "dance" with the music on the stage. Such performance and interpretation bring a revolutionary breakthrough to " Appalachia spring ". Through the theory of aesthetics of reception, this study will analyze the content and presentation of Appalachian Spring in 2014 from Jauss's "Horizon of expectation" and Iser's reception theory. When appreciating the play from the perspective of the audience, the receiver's psychological course of directional expectation and aesthetic cognition before accepting the work. The purpose of this paper is to discuss the interpretation from traditional plot to contemporary theater. Contribute to interdisciplinary.

並列關鍵字

Interdisciplinary Performance ； Aesthetics of Reception ； Appalachia Spring

主題瀏覽