當我們與地方共舞：環境劇場中舞蹈與空間、身體及社會關係之研究

地理學界的研究方向日益多元廣泛，藝文、舞蹈也漸漸成為地理學所關注的對象。舞蹈的展演空間和其中的身體實踐為地理學界過去較少探索的部分，故此研究為地理學的空間展現，以身體作為標的，形成舞蹈地理學跨界的研究。當舞蹈跳脫制式的舞台空間，以日常生活空間作為舞台形成環境劇場，其中表演者與環境的互動、舞者的身體，以及舞作概念的傳達都會和當下的環境產生關係，本研究的核心關懷為：「舞蹈環境劇場中產生的網絡關係是如何透過人與環境互動中建構而成？」當中舞蹈身體實踐是Thrift論及的非再現（Non-representation）還是無法跳脫社會文化脈絡的再現？於是，研究理論取徑關係地理學及非再現理論，試圖探討的研究目的包含（一）探究舞蹈表演在環境劇場中的空間生產與意義；（二）探究舞蹈在環境劇場中的詮釋與身體實踐方式的交互辯證；（三）探究環境劇場中舞蹈作品建構的社會網絡關係。以民族誌與質性研究作為研究方法，研究對象為長期致力於環境劇場發展的舞團－「舞蹈生態系創意團隊（Dancecology）」，該團宗旨為「共生」，舞作多以對自然與人文的關懷議題為主，對舞蹈在不同環境空間的展演互動上有相當的價值和重要性。研究結果發現環境劇場中的舞蹈表演將環境視為「活」的舞伴，透過舞者非再現的身體流動及觀眾的所感，使得該場域重新生產出新的「流動的情動空間」；其次，舞蹈中的身體實踐，舞蹈體現出對作品的情感，再現文本的意義，背後蘊藏舞者日常生活中非再現的身體情動，在展演時交融觀眾的感知與環境給予的能量，形成不只是再現的身體實踐；最後，當我們與地方共舞，當中的情感、情緒以及空間氛圍的塑造，串連在地與舞蹈作品的網絡關係，對社會產生影響，也開創舞蹈地理學本土經驗的相關對話。

關鍵字

關係地理學；非再現理論；舞蹈地理；環境劇場；身體

並列摘要

This study aims to investigate the relationship of the dancing network in the environment theater during the period of the interaction between humans and the environment. The non-representationl theory and the relational geography are used as the theoretical foundation in this study. When dance is not limited to the standard stage space, the daily life space becomes the stage, or an environmental theater. The interaction between the performer and the environment, the dancer's own body, and the concept of dance will be involved with the current environment. There are three purposes in this study. First, explore the spatial production and meaning of dance performances in the environmental theater. Second, study the interpretation of dancing in the environmental theater and its reference to body practice. Third, inspect the social network of dance works constructed in the environmental theater. The research object is the Dancecology , a dance company that has been committed to the development of environmental theater for a long time. The results of the study found that the dancers in the environmental theater regarded the environment as a "living" dance partner. Through dancer’s body flow and the feelings of the audience, the field reproduced a new "flowing affect space". The interpretive body in the dance still cannot be separated from the possibility of representation, and the emotional flow in the dancer’s body because they affect each other in the practice. Finally, when we dance with the place, such elements as the emotions, affects, and the shaping of the space are combined with relationship of the network between the place and the dance work.