「噪」反現場：論1990-2001年濁水溪公社現場表演中的音聲實踐與觀眾互動

Noise in Rendition as Voice of Resistance: The Acoustic Practice and Performer-audience Interaction of Loh Tsui Kweh Commune’s Live Performance from 1990 to 2001

沈韋伶(Wei-Ling Shen)

指導教授 ： 楊建章

國立臺灣大學/文學院/音樂學研究所/碩士(2013年)

https://doi.org/10.6342/NTU.2013.01137

摘要

濁水溪公社成立於1990年，是臺灣獨立樂界重要的元老級樂團，其1990-2001年間的現場表演極為特殊，除了迥異於唱片版本的歌曲演唱外，更將90年代初期參與學運社運的行動劇經驗發展成為其特殊的舞台表演形式。濁團現場表演中的「行動劇」，以在台上製造混亂、暴動著稱，在音聲實踐上則以「走音」、「走拍」、「走調」為特色，觀眾的參與與介入更是完成濁團現場表演最重要的元素之一。然現今相關研究仍多將濁團置於「搖滾樂在地化」或處理「臺客」一詞符號的脈絡，幾乎未有針對現場表演的音聲實踐及觀眾互動進行著墨。據此，本論文將以1990-2001年間濁水溪公社的29場現場表演為研究材料，並以「噪音」角度重新檢視，試圖論述音聲如何在濁團現場表演中形成「噪」反。在「觀眾互動」的討論，則以與觀眾的深度訪談為主，輔以90年代大眾媒體、獨立媒體對濁團的報導及討論，兩者相互參照，呈現大眾與觀眾接收之差異，以此立體的建構濁團與觀眾的特殊互動關係。

關鍵字

濁水溪公社 ； 現場表演 ； 音聲實踐 ； 觀眾互動 ； 噪音

並列摘要

Established in 1990, Loh Tsui Kweh Commune (L.T.K. Commune), one of the earliest pioneers in the Taiwanese indie band community, distinguishes itself as one of the circle’s most influential success with its characteristic live performance from 1990 to 2001: in addition to a rendering of music markedly different from that of the CD-ROM version, L.T.K. Commune’s onstage performance also incorporates distinctive elements of an action theater that are inspired by the band members’ participation in numerous social movements in early 1990s. A typical L.T.K. Commune “ theater of action” includes creating chaos and riots on stage, being “off-key, off-rhythm, and off-tone” in terms of acoustic practice, and, most important of all, involving the immediate audiences. Existing studies of the band, however, tend to focus more on the localization of rock music or the “Tai-Ke” symbol than its acoustic practice at live performances as well as performer-audience interaction. From an unprecedented “sound of noise” perspective, this study will re-examine 29 of L.T.K Commune’s live performances from a period of 1990-2001 and discuss how sound of noise may have been used as protest through voice.
Meanwhile, it turns out that there is this uniquely interactive relationship between the L.T.K. Commune performers and their audiences, as qualitative interviews with viewers show. News coverage of the band in the 1990s by both popular and independent media are also included, attempting to help offer more evidence of a view gap between average impression and audience’s experience of the band.

並列關鍵字

Loh Tsui Kweh Commune / L.T.K. Commune ； live performance ； musical practice ； performer-audience interaction ； sound of noise

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