從身體表現探究崑曲藝術的默會經驗

藝術家的表演有著許多難以言傳的經驗。藝術所要傳達的意義，往往是默會的經驗。這些默會經驗是藝術創作或表演者經年累月所蘊涵的寶貴精華，它是藝術家之所以成為藝術家的理由，他們往往看到了一般看不到的、感受到一般人難以感受的部分，而這些部分大多難以言述，屬於默會部分，它對於藝術家而言，是相當重要的。本文以崑曲《青春版牡丹亭》為例，對此默會經驗進行探究。本文以「傳統規範」、「二種意識」及「默會經驗」三部分進行論述。本文由崑曲藝術對待傳統技能規範的嚴格態度可以知道，不論多麼嚴格的技能規範，都無法脫離個人知識中默會經驗的決定性因素。對於有著長期表演經驗的演員而言，這樣不可言傳性的默會經驗，正是他之所以能成為優秀演員的重要關鍵，這些不可言傳性的默會經驗，是無法被取代，甚致是難以傳授的。

關鍵字

身體；崑曲；舞蹈；默會

並列摘要

The artists' performances have much experience that are hard to say. The art wants to inform of meaning usually is experience of tacit. it is the precious essence that art creations or performer contain for months and years. It is an artist of so for the artist's reason, they usually see what people can't see, feel what people can't feel, and these part mostly hard speeches say, belonging to the tacit, it is rather important to artists. This text with Kun song 《the youth version peony station》 and Chinese dance, modern dance for example, to this tacit experience carry on an investigation. This text researched by ”traditional standard”, ”two kinds of consciousnesses” and ”tacit experience” three parts. This study, in spite of how strict technical ability standard, it can't escape from the decisive factor of tacit experience in personal knowledge. For actors who have over a long period of time performing experience, tacit experience which can speak of is exactly the reason that he can become the important key of excellent actor, this tacit experience is not replaceable and hard to teach.