Choreographing of Spectatorship：論「百吻巴黎」旅遊攝影之編舞

Choreographing of spectatorship: a Taiwanese Female's Photo Essay ＂Kiss Paris＂

張懿文(I-Wen Chang)

《關渡通識學刊》 9期 (2013/12) Pp. 83-92

摘要

「編舞」（choreography）做為學術術語，是由舞蹈研究領域所提出來的新概念，意指透過對身體動作的分析，可以進一步去探討存在於日常生活中關於社會、政治與經濟領域中的權力關係。在本文中，筆者將透過對觀眾觀影經驗（spectatorship）的編舞分析來擴展觀光研究（tourism studies）的論述面向，當前觀光研究主要以西方觀光為主體，並以探討西方旅遊者到其他社群所造成的影響為主要論述，但在此同時，卻仍存在一種反向的可能：非西方的觀光者成為主體，而西方反而成為被凝視（gaze）的對象。2009年，台灣音樂人楊雅晴在巴黎創作了充滿諷刺性並具有編舞概念的攝影計畫「百吻巴黎」，在她的攝影中，楊雅晴照下了她在巴黎景點隨機與路過年輕人接吻的照片，她在這些照片中展現編舞姿勢（choreographicgestures）與身體動作，可被當作是對巴黎刻板印象的嘲諷—這些照片諷刺性地修正了西方觀光消費的主導地位。筆者從觀光研究和編舞分析的多層次角度來探究楊雅晴的作品，將法國與台灣，男人與女人，在地人與觀光客做一個充滿諷刺意味的併置，我將突顯楊雅晴在照片中的身體姿勢編舞，如何與再現、異國情調和觀光地點中的經濟等議題互相呼應。這個研究有三個重要性：第一、提供了一個將編舞概念應用在非舞蹈身體的觀光研究中之可能性；第二、提供一個觀光研究中極少分析的亞洲女性歐洲觀光經驗之觀點；第三、提供了一個在亞洲觀光和表演論述學術研究中較少被提及的面向：透過身體認識論來探究亞洲人的自我再現。

並列摘要

Choreography, a concept drawn from dance studies, can work beyond the dance context to analyze how the movements of bodies theorize the power and difference in our daily social, political and economic lives. In this paper, I look at how the choreography of spectatorship enriches the discourse of tourism studies. A majority of tourism studies have looked at ＂Western＂ tourists and their impact on non-West communities, places, and environments. However, there is a reverse paradigm, where the non-Westerner is the subject while the Westerner becomes the object of the gaze. In 2009, Taiwanese musician Yang Ya-ching(楊雅晴)undertook her ironic choreographic photography project＂Kiss Paris.(百吻巴黎)In this photo essay, Yang took photos of herself kissing random young men she met at Paris tourist sites. Her choreography of gesture and movement in the context of visual art is a parody of the romantic Paris stereotype. It ironically revises the trope of tourism consumption dominated by the ＂West.＂ I investigate Yang's work through the lens of tourism studies as it intersects with choreographic analysis. Through examining the ironic juxtaposition of French and Taiwanese, men and women, locals and tourists, I reflect on how Yang Ya-Ching uses her choreography in the photos to illuminate issues of representation, self-representation, exoticism, and economics as they play out in a range of tourism locations. There are three imperatives for this study: 1) to provide an extended example of how the concept of choreography works with non-danced movement in tourism studies; 2) to understand an Asian female perspective on the European tourism experience, which has rarely been discussed in tourism studies; 3) to examine Asian self-representation through corporeal terms, something neglected in the growing scholarship on Asian tourism and performance criticism.