- 學位論文
「觀」：無垢舞蹈劇場身體訓練與實踐
「Wou-Gow Technique」：Body Training and Performance Experience in Legend Lin Dance Theatre
摘要
1995年5月，林麗珍的「醮」於國家戲劇院首演後引發了諸多迴響。同年十月，無垢舞蹈劇場正式成立。成團以來，林麗珍秉持著十年磨一劍的精神，僅發表了三部作品，旨在重新探索「時間」與「空間」關係，呈現出特有的身體美學。在「中心軸、中心圓、中心點」的哲學思考脈絡下，林麗珍整合「定、靜、鬆、沉、緩、勁」六大動作原則，以及螺旋意象引導肌肉運作為無垢技巧主要概念，發展出「無垢技巧」，成為支持無垢美學重要且根本的關鍵要素。 本研究採用質性取向之田野觀察、實際參與及深度訪談等研究法，輔以親身參與《觀》巴西巡迴演出之深刻體驗，由舞者中心點出發，融合自身經歷與舞者觀點，探知無垢舞者如何與該技巧對話，並進一步實踐於舞臺與生活之中。 研究結果發現無垢技巧在其身體脈絡下，發展出三套基本動作原型，結合平日訓練以及演出訓練的洗禮，體現出無垢特有的美學風貌。研究者亦針對研究成果提出建議，並且從研究本身與研究者兩方面作反思，期望在反省自我的學習與研究歷程之餘，能提供舞蹈教育與表演藝術領域不同的身體訓練觀點，以及另一種看待身體的視角。
並列摘要
In May 1995, Lin Lee-Chen presented the world premiere choreography Miroirs de Vie at National Theater, Taiwan. With the renown of major success, she found Legend Lin Dance Theater in October the same year. Until now (2013), Lin Lee-Chen only choreographed three works under her sincere commitment. The concept of exploring “time” and “space” inspired Lin to develop her own distinct dance vocabulary; it also led the philosophical thinking of "central axis, central circle, and central point". Lin integrated six principles and adopted the spiral image as the guideline of movement as the main concept to develop “Wou-Gow Technique”. This technique was regarded as the important and fundamental element to the body aesthetic, which created by Lin. This research adapted the Qualitative Research Method, by field research, In-depth interviews, and focused on dancers’ perceptions and experiences. In addition, the researcher’s personal experience of participating the tour to Brazil with the company would be regarded as the important part in this study. Combined with all experiences and resources, the researcher would like to understand how dancers perceived the technique individually and the way they make sense between performing and their daily life. The results revealed that Lin developed three types of fundamental movements, to form so-called “ Wou-Gou Technique “. Combing with the daily training and performance experiences, Lin brought out her own distinct dance vocabulary and atheistic. Of course, the technique is still in the shaping process and it is important to be well constructed by Lin and her disciples in the future. In conclusion, the researcher not only proposed some points of view and suggestion for this research, but also hoped to provide different ideas of body training in the field of dance and performing arts through this research.