由詮釋學的角度觀察臺灣當代音樂表演的「跨界」特徵

From the Hermeneutics Point of View Observe the "Crossover" Feature of Contemporary Music Performances in Taiwan

朱雲嵩(Yun-Song Chu)

《2014跨界對談9－表演藝術研究學術研討會論文集》 第九屆 (2015/02) Pp. 63-79

摘要

「跨界」作品數量與展演頻率的明顯上昇，已使其儼然成為一門顯學，一種堪稱為新興音樂表演形式的共通特徵。然而，「跨界」或「跨領域」的定義究竟為何？其概念認知是如何形成、轉變？就目前臺灣音樂界而言，「跨界」是一種純粹的藝術性選擇，抑或是著重於經營的策略性考量？針對上述議題，本文將透過詮釋學的角度與方法，在「時」、「空」、「文化社群」等動態變因的「文化參考點」基礎上，觀察剖析當前「跨界」表演藝術的概念認知建構，以及詮釋權行使和「跨界」表演藝術實作間的相互關係。

關鍵字

跨界 ； 跨領域 ； 表演藝術 ； 詮釋權

並列摘要

The increasing number and frequency of "crossover" performance, in terms of works and practices, have become so conspicuous that a school or a common feature of newly emerging form of music performance can be clearly observed. However, what is the definition of "crossover"? How does the concept of "crossover" take shape? Is crossover a purely artistic choice or a strategy based on some kind of operating thought? Considering these questions in the present music field of Taiwan, this paper aims to observe and anatomize how the concept and cognition of contemporary crossover performances take its shape, and from hermeneutic points of view how the authority of interpretation effects the practical crossover performances upon the referential variables such as timing, spacing, and cultural communities which are in fact dynamic.

並列關鍵字

crossover ； interdisciplinary ； performing arts ； Authority of Interpretation