- 學位論文
黑翅揚起 新觀《天鵝湖》之黑天鵝角色的可能性
Re-investigating the Role of Odile in Swan Lake
摘要
承傳百年的芭蕾，在一連串技巧與至美的攀升中，以女性為主之優美旋律，似乎逐漸變奏為父權社會下美麗的牢籠；框架出女性應有的姿態與形象。然而，芭蕾所鞏固的肢體與文化實則不應只以男性之掌權來看待。暫且拋開性別上的執著，微觀芭蕾舞劇創作歷程與時代風潮，藉此分析角色的風格與動作的多樣。期望跳脫芭蕾過往如出一轍的女性角色分類－天使與惡魔之二元論，單純視芭蕾為一文化體現而進行有助日後「芭蕾賞析教育」可提供觀點之研究。 首先，以舞蹈史研究理論（Adshead-Landsdale & Layson eds, 1994）著手古典芭蕾《天鵝湖》歷史軌跡回顧劇情文本；繼而透過角色內涵及動作分析，細嚼《天鵝湖》女主角另一扮相黑天鵝奧黛兒（Odile）之新觀察；隨後輔以女性身體閱讀（Young）與（後）拉岡（Zizek）的觀點，淺論女性於芭蕾舞劇中具有權力的存在，試圖投以正面之期待與肯定。研究的最終目的，渴望於今日對芭蕾女性的重新理解，開放一線生機。
並列摘要
Ballet as a classical art form has become a target of feminist discourse, stating that patriarchy instills an ideal image of women throughout the presentation of ballet. Other than the tool of feminism which is used in Taiwan scholarly discourse, perhaps an alternative broader understanding of dance and society may be proposed. A higher altitude to view history of ballet would be reached. Putting aside the gender issue- the dichotomy of sylphs and sirens, we observe ballet as an epitome of culture. Hopefully, the deeper knowledge of ballet itself will allow critical thinking in dance within general education in Taiwan. Based on dance history research, this essay will focus on the outstanding ballet: Swan Lake (1895). Through the narrative, 19th century’s cultural thought will also be discussed. After the analyses of the character and her body movements, ways of Lacanian psychoanalysis（Zizek）as well as reading female body are incorporated in order to provide a contemporary perspective of the female ballet subjectivity and body.