- 學位論文
飛遷南國的黃色蝴蝶――日本舞踏家秦Kanoko來台創作十年研究
The Yellow Butterfly Flying to the South――Japanese Female Dancer-choreographer Hata-Kanoko,Her Works and the First Butoh Company in Taiwan
摘要
發韌於1959年的日本舞踏，承襲德國表現主義舞蹈風格以及達達主義的反思精神，在舞蹈的園畝上，開出一朵異色的內省之花，震撼全球舞壇和當代藝術界。日本舞踏家秦Kanoko自1998年首度訪台後，與台灣結下不解之緣：移居台北縣深坑鄉、在台灣發表多支舞踏作品，2005年更在台灣創立台灣第一個舞踏團――「黃蝶南天舞踏團」，藉其移民經驗，以舞蹈為媒介，和台灣社會產生跨文化的深度對話。 本研究以1998~2010年間，秦Kanoko來台發表的主要舞作《酷愛蟲的公主》（2000）、《拼裝淨土》（2002）、《瞬間之王》（2005）、《天然之美》（2006）、《惡之華》（2009）為文本，立基於後殖民論述，藉以闡釋其作品所承載的三重邊緣性：（一）、以「反近代」為標竿的日本舞踏，在高度資本主義社會中，堅持以左翼的、邊緣化的路線，抗拒國家體制宰制個人身體的權力結構，以衰弱的病體顛覆主流社會的審美價值，表現社會邊緣族群身體之美，及其生之尊嚴。（二）、原生於日本的舞踏，透過一位舞踏編舞家�舞者移植到台灣，與曾為日本帝國主義霸權統治下的殖民地台灣產生對話，繼而以台灣為根據地，取其自身的台灣經驗作為方法，超越東北亞視野，建構其「亞細亞巴洛克」美學。（三）、多半為男性編舞家主導的舞踏，藉由一位女性舞者的身體，表露女性身體經驗和主體意識的途徑，亦為本文所關注之議題。 因此，本研究主要援引東亞觀點的後殖民理論以及女性主義之學說，解讀秦Kanoko舞作的深層意涵。此外，並著眼於日本舞踏發展史，釐清第二次世界大戰後，冷戰氛圍籠罩下的世界局勢、日本戰後精神，以及五十年來的台灣政局、社會變貌，從中探究舞踏及此前衛劇場模式之所以在台發展的可能性。
並列摘要
The Japanese Butoh originated in 1959, inheriting the German expressionism and the reflexive Dadaism. There emerged a reflexive dance that shocked the contemporary dance field around the globe. A Japanese Butoh dancer and choreographer, Hata-Kanoko paid a visit to Taiwan and then stayed in Taipei County. While in Taiwan, she presented many pieces of Butoh and in 2005 she established the first Butoh company in Taiwan――“The Yellow Butterfly Flying to the South Butoh Company” to deepen and strengthen her dialogue with the culture in Taiwan. Between the years 1998-2010, Hata-Kanoko presented the following dance pieces in Taiwan: The Princess Who Loves Worms (2000), The Pure Land of Collage (2002), King of Moments (2005), The Beauty of Nature (2006), Fleur du Mal (2009). This study aims at examing the triple marginalities embedded in these dances from a postcolonial perspective: (1) With the spirit of anti-modernity, the Japanese Butoh, especially in the high capitalist society, still maintains its leftwing marginal political potition to resist against the structural domination of the State apparatus on one’s body in its attempt to subvert the mainstream aesthetic value. More importantly, it expresses the beauty and dignity of one’s body inmarginality (2)Hata-Kanoko transplants Butoh from Japan to Taiwan in order to create dialogues with this former colony of the Japanese Empire. Using Taiwan as her base of creation, she establishes her aesthetics of “Asian-Baroque” in an attempt go beyond the Japanese imperialist viewpoint of the North-East Asia. (3) Butoh, though mainly performed and choreographed by male performers, is now created by a female body exposing a woman’s body experience and subjectivity. This is also an issue that this study would then discuss. Hence, this study mainly aims at explicating the deeper implication of Hata-Kanoko’s dance pieces through postcolonial and feminist perspectives. Moreover, it also attempts to elucidate the evolvement of Japanese Butoh from the post-war to the cold war periods and explore the possibility of the development of this avant-garde dance theatre in Taiwan.