擊樂劇場《木蘭》之音樂符號化研究

《木蘭》是「朱宗慶打擊樂團」於2010年推出的擊樂劇場作品，除了西方的打擊樂之外，還加入了中國傳統戲曲——京劇的元素，是一部集合了音樂與戲劇、融合了西方與東方文化的跨領域之作。為了達到完全擊樂化的境界，朱宗慶打擊樂團與國光劇團經過了進一步地調整與領域間的整合，在2013年於臺北國家戲劇院推出了新版擊樂劇場《木蘭》——即本論文之研究對象。這部結合了西方打擊樂與中國傳統戲曲的跨界作品，除了在形式上將中國的傳統京劇與西方的打擊樂做有機融合外，更巧妙地運用了演出舞台上所呈現的聽覺、視覺等元素，將抽象的音樂，藉由樂器形象、演出者肢體、舞臺視覺效果等，具象地呈現在觀眾的眼前；藉由一東一西、具象與抽象之二元對立的表演元素之結合，讓聽眾可以從具象的符號中，體會到音樂本身所要傳達的訊息。本研究即從跨界展演及符號學的角度出發，以2013年於臺北國家戲劇院演出的新版擊樂劇場《木蘭》為研究對象，藉由作品分析建構出整部作品所呈現的符號系統。

關鍵字

跨界展演；符號學；音樂劇場；朱宗慶打擊樂團；木蘭

並列摘要

"Mulan" is a percussion theater piece of Ju Percussion Group in 2010, which included not only western percussion, but also the elements of traditional Chinese drama, Peking Opera. It is a interdisciplinary work that combines music and drama, and also the western and eastern culture. In order to transfer the all elements in this performance to complete percussion, Ju Percussion Group and GuoGuang Opera Company revised and integrated between the different fields again. In 2013, the new version of percussion theater piece "Mulan", the subject of this paper, performed again in the National Theatre in Taipei. In addition to the formal organic fusion of traditional Chinese Opera and western percussion, this work effectively uses the elements of hearing and vision that presented on the stage of the performance to present the abstract music concretely with the image of the instrument, the body langue of the performer, and the visual effect. Through the combination of the eastern and western elements, the duality of representation and abstraction, the audience members can really understand the message that the music itself conveys from the figurative symbols. This study is through the interdisciplinary and semiotics, taking the new version of the percussion theater piece "Mulan" performed at the National Theatre in Taipei in 2013 as the research subject, to analyze the performance to construct the symbol system of the whole work.

並列關鍵字

interdisciplinary performance ； semiotics ； music theatre ； Ju Percussion Group ； Mulan

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