《城市角隅》創作紀實 傳統肢體語彙的淬鍊與創新

"City Corner" Innovation and Extraction from Classical Movement Vocabulary

林佳良(Chia-Liang Lin)

指導教授 ： 平珩

國立臺北藝術大學/舞蹈學院展演書面報告/舞蹈研究所表演創作組/碩士(2014年)

https://doi.org/10.6835/TNUA.2014.00209

摘要

摘 要

本文將以《城市角隅》製作中《新語》、《厝》、《千百座奶峰》三首舞作的編創過程作為主要敘述對象，輔以說明整體演出製作流程及筆者自身舞蹈生命經驗，藉由筆者本身所受傳統肢體訓練為命題，研究傳統肢體語彙背後的思維與藝術創作之於現代社會的功能與作用。

第壹章緒論重點為畢業製作流程的回顧與檢視，並對於「傳統肢體語彙」作一個界定與意義闡述。第貳章在於分析舞作《新語》，從傳統音樂中取材，運用當代舞蹈的肢體語彙，重新認識傳統音樂的過程。第參章敘述舞作《厝》如何從傳統戲曲的素材中發想，演變成為檢視家庭關係的情境舞作，以便讓藝術更貼近一般生活的編創。第肆章從作品《千百座奶峰》的發展歷程中，點出看似合理的現代化政策，其實可能隱含了對於原生族群生活的剝削，兩造之間能否找到新的發展模式是本作品希望能引出的進一步思考。在審視整製作歷程後，對於自我身體經驗的歸納，以及在生命轉折後的發現與自我定位，是本文第伍章的重心與結論。

自表演藝術學習、演出到創作近三十年的歲月中，深深體會到藝術是一種無形的轉化，筆者希望能在潛移默變中運用傳統新思維，以積厚社會人文思考的底蘊；藉由藝術工作者的生命經驗，與傳統人文連結，強化藝術在當今社會中的必要性。

關鍵字

傳統肢體語彙；傳統音樂；傳統戲曲

並列摘要

"City Corner"
Innovation and Extraction from Classical Movement Vocabulary

The choreography production “City Corner” includes three dance works, New Words in Old Memory, Mom Song and Endless Peak. Based on training and research from classical techniques, the choreographer tried to elaborate classical movement vocabulary, and hopefully to bring new thought reflecting the contemporary life.
Chapter one gives an overview description about the production process and also defines the fundamental meaning of “classical movement vocabulary”.
Chapter two is to analyze the dance, New Words in Old Memory. It focuses on the use of contemporary dance vocabulary utilizing the traditional music, taking it as a process of re-recognizing traditional music.
Chapter Three is about Mom Song inspired by the Chinese Opera. The dramatized family life means to bring the piece that is familiar to our real life experience.
Chapter Four spells out the dance, Endless Peaks which points out the injustice to indigenous people in National Park policies. It is to remind us and to inspire a further thinking for them and for us.
By examining the process of the entire production, I have come to the understanding from my body experiences which is analyzed in the chapter five. I found new characters and inner balances of self.
Creating, performing and training have fulfilled my life. In these fruitful years of study, I appreciate and believe art as an invisible transformation of the life of all human beings. I hope to offer the wisdom of utilizing traditional movement vocabulary into contemporary choreography. In intertwining traditional techniques into my choreography experience, I believe the production “City Corner” has strengthened my skill in creative works. I hope to share my final report to the people, not just in dance but the society.

並列關鍵字

Classical movement vocabulary； traditional music； contemporary dance

參考文獻

孫大川（2007年12月）。從生番到熟漢 ─ 番語漢化與漢語番化的文學考察【PDF檔案】。台灣原住民研究論叢。取自

【網站資料】。國政研究報告，財團法人國家政策研究基金會。取自

尤金諾•芭芭（Eugenio Barba）＆尼可拉•沙瓦里斯（Nicola Savarese）（2012），《劇場人類學辭典─表演者的祕藝》（A Dictionary of Theatre Anthropology: The Secret Art of the Performer）。丁凡譯，臺北：臺北藝術大學。

沈 冬（1986），《南管音樂體制及歷史初探》（羅聯添、徐泓主編）。臺北：國立台灣

謝世忠（2004），《族群人類學的宏觀探索：台灣原住民論集》。臺北：臺大出版中心。