視聽覺符號交融建構之研究－以作品《阿貢》（Agon）為例

俗話說：音樂是舞蹈之魂，它不僅在形式上（節奏、旋律、和聲）給舞蹈動作提供強而有勁的動力，還在思想上豐富身體語言之內涵。在當代眾多舞蹈藝術中，音樂對其起到了畫龍點睛，靈魂性的作用。它不僅大大地豐富了舞蹈身體語言的表現形式，還在其內容資訊的傳遞中起到絕對增值的意義，以便能夠達到最佳的藝術效果。本文從音樂與舞蹈純形式之融合建構作為研究出發點，以伊戈爾．菲德洛維奇．史特拉汶斯基（Igor Fedorovitch Stravinsky，1882-1971）與喬治．巴蘭欽（George Balanchine，1904-1983年）的同名作品《阿貢》（Agon）作為研究對象，從中挖掘動作與音樂間融合之手法，思考舞蹈形式與音樂形式間交融之美學，並以魯道夫．拉邦（Rudolf Laban,1879-1958）的「力效」（Effort）要素符號，探索肢體動作對音樂的開發與詮釋，以便能從另一面向拉近音樂與舞蹈之間的關係。與此同時，研究者欲想拓寬音樂與舞蹈融合的道路，並從中打開欣賞者對其視聽美學上的新視野。

關鍵字

視聽覺；動作；音樂；交融

並列摘要

It is said that music is the soul of dance: it not only strongly influences the movement of the body, through its form (rhythm, melodyand harmony), but also enriches the connotation of the movement in dance. In many contemporary dance artworks, the music is a crucial element and gives soul to the dance. It not only enriches the expressive forms of body language, but also the audience's appreciation in aiding the transmission of information, to achieve the best effect of art. As a starting point, this paper will look at the construction of the integration in music and dance in the work Agon by Igor Fedorovitch Stravinsky and George Balanchine. It will explore the technique of fusion in movement and music, to think about the aesthetics of blending dance with music. According to the symbols of "effort" in Rudolf Laban's theory, the development and interpretation of music by body movement will be explored, in order to analyze the relationship between music and dance forms from a different perspective. At the same time, the researcher wants to broaden the understanding of the fusion of music and dance, to open a new horizon in the appreciation of dance and music.

並列關鍵字

The sense audiovisual ； movement ； Music ； Integration

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