神．虛．意．韻： 蕭君玲的當代民族舞蹈美學探究

A Study on Contemporary Aesthetics of Minzu Wudao in Taiwan－Hsiou Chun-Ling’s ‘Yi Luo Ying’ and ‘Tsan Yueh-Chang Hsiou’

樊香君(Shang-Jan Fan)

指導教授 ： 陳雅萍

國立臺北藝術大學/舞蹈學院學術論文/舞蹈理論研究所/碩士(2011年)

https://doi.org/10.6835/TNUA.2011.00081

摘要

台灣「民族舞蹈」在一九五○年代，應著「反共抗俄」的時代需求為國民黨政府所創，其背後一直隱含因時代之故所產生的政治意涵。在「反共抗俄」時過境遷之後，舞蹈作為藝術的美學議題便浮上檯面。「民族舞蹈」的成立背景、形式風格等面向，讓它總是令人聯想到「似是而非的中國各族舞蹈」、「矯情的表演」、「漫天飛舞的彩帶」、「八股」、「守舊」等刻板印象。儘管它的歷史交織著各種意識型態，還是有一群編舞者，默默在「民族舞蹈」的領域耕耘，找尋「民族舞蹈」新語彙、新美學，期待能突破外界對於「民族舞蹈」的刻板印象，而中生代編舞家蕭君玲的「當代民族舞蹈」即是一例。

本論文以蕭君玲的「當代民族舞蹈」作為研究對象，首先從文獻整理爬梳「民族舞蹈」的歷史、文化研究、形式風格等各面向的脈絡，以期完整呈現「民族舞蹈」大環境的全貌，進而將蕭君玲「當代民族舞蹈」的兩部作品＜倚羅吟＞與＜殘月．長嘯＞放置於此脈絡中。為深入探討蕭君玲「當代民族舞蹈」的美學核心，又以「中國傳統文藝理論」為理論思考與應用，從儒、道兩家文化思想中與美學有關之論述談起，再延伸至「形神」、「虛實」、「意境」、「氣韻」等美學概念，以切入蕭君玲作品中身體語彙、舞台時空經營、舞作意涵等各面向。此外，亦回顧其於台灣多元文化下之身心歷程，輔助筆者對於其舞作的紀錄、分析與評述。最後，提出筆者對於蕭君玲的「當代民族舞蹈」之所以「當代」的觀察與論述，為「民族舞蹈」的未來指出一條可期待的方向。

關鍵字

民族舞蹈、當代民族舞蹈、蕭君玲、中國傳統文藝理論

並列摘要

Minzu wudao (Chinese national or ethnic dance), a special genre of dance, has been formed by the Nationalist Government (Kuomintang or KMT) for the political agenda of anti-communism in the 1950s. The nationalistic ideology behind Minzu wudao therefore exists distinctly since then. After the period of anti-communism, issues about the aesthetics of Minzu wudao started to be discussed. Though the term “Minzu wudao” tends to evoke such stereotypical impressions as “ambiguous depictions of Chinese ethnic dance”, “overacted performance”, “old-fashion” and “ribbon dance,” there have been choreographers trying to break through the stereotypes, intending to find new aesthetic languages of Minzu wudao. Hsiou Chun-ling is one of them.

In this thesis, two of Hsiou’s works “Yi Luo Yin ” and “Tsan yueh．Ch’ang hsiou” are chose as examples of her creation of “contemporary Minzu wudao.” It begins with providing an overview of the history, culture research, form and style of Minzu wudao and then viewing Hsiou’s works in these contexts. Moreover, for a deeper understanding of the aesthetics of Hsiou’s work, Chinese traditional aesthetic theory, such as chi-yun, xing-shen, hsu-shih, and yi-jing, which are deeply influenced by Confucianism and Taoism, is applied as analytical tool. In addition, a review of the various stages of Hsiou’s body training will also enrich the analysis of her works. In conclusion, the thesis will discuss how Hsiou’s works present the aesthetics of “the contemporary” while at the same time keeping connection with Chinese cultural tradition. This may point to the future possibility of Minzu wudao.

並列關鍵字

Minzu wudao, contemporary Minzu wudao, Hsiou Chun-ling, Chinese traditional aesthetic theory

參考文獻

鄭仕一、蕭君玲，＜探討台灣傳統舞蹈之身體漾態的現象學分析＞，《大專體育

鄭仕一、鄭幸洵、蕭君玲，＜民族舞蹈創作的藝術本性：在遮蔽與無蔽之間＞，

蕭君玲，2010/03/22，台北市。

蕭君玲，2010/04/26，台北市。

蕭君玲，2010/05/25，台北市。