柬埔寨宮廷舞蹈／舞劇傳統的轉淚點－從神聖道世俗，從共通到獨特

柬埔寨宮廷舞蹈／舞劇是東南亞起源最早的傳統舞劇形式之一，其在發展歷史上經歷了兩次重大的歷史轉捩點，使該傳統產生不同程度的變遷，一是19世紀中期柬埔寨統治者藉由對過去的想像，重鑄了失落約四百年的宮廷舞蹈／舞劇，精神內容力求承接吳哥時期神聖、宗教、王權的神王觀念，但其形式傳統卻是從泰國引進的新發明；另一則是20世紀中期該藝術逐漸往世俗化發展的古典舞蹈／舞劇，尤其是在柬埔寨國王與皇室於1970年退出該藝術的「舞臺」之後至今，先前創造的形式傳統雖仍保存完整，但原有的精神傳統已幾乎喪失。我們要如何進一步地理解這些傳統變遷的意義？以及思考此傳統藝術的未來發展？相對於一般多將「傳統」作為名詞、以強調其物質面特徵的討論，Paul Oliver認為傳統傳遞（transmission）的動態實踐才真正構築了傳統，物質傳統本身實非傳統，而Janet Abu-Lughod更進一步指出傳統塑造過程中創造者與接受者之間的集體性與共同性意義才是傳統的重要屬性。本文將深入描述這項傳統藝術所經歷的傳統變遷，以及影響其變遷的政治與社會背景與脈絡，探討它是如何從一個具有神話、宗教、社會與文化共通性的民族經驗，到在現代社會中被商業化和受現代藝術創作影響，而轉變為世俗的、消費的商品，和以展現藝術家獨特性的、以美感欣賞質性為主的藝術品，並藉由傳統傳遞之動態過程的角度探討與分析其傳統變遷的意涵。

關鍵字

柬埔寨宮廷舞蹈／舞劇；神王崇拜；傳統變遷；世俗化；傳統塑造

並列摘要

Cambodian court dance-drama is one of the earliest traditional dance-drama in the Southeast Asia. During the course of its formation, there are two major turning points which brought significant changes to this dance-drama tradition. One occurred in the middle of the 19th century when the country ruler Ang Duong tried to reconstruct the long lost ancient court dancedrama tradition through imaginative creation based on the relics from the nation's glorious past during the Angkor period as well as on the artistic form of Thai court dance-drama. Although the reconstructed dance-drama was imbedded in the context of Devaraja notion and practice of religion, parallel to the dance-drama in the Angkor period, its artistic form appears as nearly a new invention. The other turning point happened in the 1970s. Losing its most important patron and supporter-the king and the royal family, the Cambodian court dance-drama in the 1970s, though, maintains the artistic form reconstructed in the 19th century, but the social context of the dance-drama has been shifted from part of the integrated religious practice to modern Western idea of appreciation of (folk) art.How can we interpret the above changes of Cambodian court dance-drama and its future development? Opposing to conventional ideas of considering ”tradition” as a noun and exclusive emphasis of the material products of a tradition, Paul Oliver points out that it is not the material products but the practice of transmission which develops the tradition. Janet Abu-Lughod further brings up the notion of ”traditioning” in which she considers ”tradition” as a verb and emphasizes that the collectivity, shaped by the interactive process between the makers and consumers of products of a tradition, is the essential quality of ”traditioning.” Based on the above notions, this essay will articulate and analyze how a sacred, religious Asian traditional theatre which was once able to generate collective, common experience of the society has been turned into commercial products to be consumed or become sources of secular art works by individuals.

並列關鍵字

Cambodian court dance-drama ； Devaraja ； changes of tradition ； secularization ； traditioning

參考文獻

林偉瑜(2010)。來自亞洲傳統劇場的啟示─柬埔寨傳統宮廷舞劇的消失與重現。戲劇學刊。12，95-123。

(2010).Cambodian Dances: Khmer Classical Dance, Robam Moni Mekala, Apsara Dance, Dance in Cambodia, Yike, Robam Meh Am Bao, Chhayam, Robam Neary Chea Chuor.Memphis, Tennessee:Books LLC.