《身聲作想》創作論述

本文為陳柯杏的畢業製作《身聲作想》之創作報告書，論述舞作以身體為出發點，探討身體與科技、現代社會與宗教這三項不同面向的關係，因而構成了三個不同主題的作品：〈雙響〉、〈自我控訴〉與〈腹語〉。身體是本次創作的命題，也是舞蹈創作與表現的主要媒介。因此，第壹章「緒論」將提出本論文對身體思考的兩個面向：以身體為創作媒介與身體的本體性，並以個人創作歷程為引子，回顧《身聲作想》的創作源起。第貮章「〈雙響〉：身體與科技」論述作品〈雙響〉的創作動機與概念，描述筆者如何從與多媒體藝術家區秀詒跨界創作的互動中，共同思考動作、聲音與光之關係，並將過程中所撞擊出的想法堆砌成舞作的形式與面貌。第

關鍵字

身體的主體性；動作與聲音；夏宇；彼得．漢德克；伊斯蘭女性身體

並列摘要

This paper on Tan Chai Chen’s graduation project Thought and Voice of the Body provides a discourse on her choreographic works based on the body as a theme. The choreography explores the relationship between the body and technology, modern society and religion in three works, Double Sound, Self-accusation and Ventriloquy. The body is the main theme of the project, as well as the main medium of dance choreography and dance performance. The first chapter discusses two main ideas—the body as creative medium and the subjectivity of the body. This chapter briefly describes the origins of the three works. The second chapter reveals the creative process of Double Sound. In collaboration with multimedia artist Au Sow Yee, both artists explore the relationship between movement, sound and light, to construct the interdisciplinary work, Double Sound. The third chapter discusses Self-accusation, which tries to open up a conversation between the dancing bodies and Peter Handke’s script, “Self-accusation.” This piece explores the existence of the self in modern society, questions the body (as defined by text) and tries to redefine the body itself as a language. The fourth chapter discusses Ventriloquy, which tries to give voice to the Muslim female, and criticizes the value given to female bodies by religion. Ventriloquy combines drums, Islamic veil and body movement to defamiliarize the image of the female body, where drums are used as a metaphor for the patriarchy as well as for the women’s repressed voice. In the fifth chapter, the choreographer reflects on her creative process and summarizes her thoughts on the idea of body.