在地、跨域、轉化－以藝陣之跨文化劇場實踐為例

Local, Cross-discipline, Transformation-Using Examples from Folk Art Parade (Yi Jhen) of Intercultural Performance Practice

趙郁玲(Chao, Yu-Ling)

《南藝學報》 24期 (2022/06) Pp. 61-74

摘要

全球化的今日，人們使用網路共通的語言，討論分享有趣的議題，同中求異的需求中，反彰顯出「在地性」之重要，我們所處之在地的人文，是構成不同文化間互動對話之獨特存在的立基！傳統藝術若是載體，藝陣之身體語彙即是文化基因，溯源台灣藝陣，在那原創作品中，累積的不僅是歷代人文的智慧，亦仿如觀者，觀看前人藉由作品發聲，參與其生命實踐的文本。臺灣漢人社會建立，大致始於1621年（明天啟元年），1662年因漢人的移墾及鄭成功政權底定，隨著書院、社學的成立，漢學儒文化及其儀禮在臺茁根傳播。藝陣依附著農業生活型態與民間信仰在臺灣流傳。以民俗藝陣作為表演藝術之的創作題材，早於50年代李淑芬、林香芸時，90年代為舞團引介於國際舞臺上，例如臺北民族舞團的《慶神醮》、雲門舞集的《牛犁歌》、無垢劇場的《醮》、壞鞋子舞蹈劇場《吃土》、…。藝陣因受西方劇場形式影響而變化，隨著當代表演藝術之興起，傳統藝陣成為跨文化劇場的創作元素，產生跨界融合的新面貌，演出形式多元，或拼貼或解構重組；例如臺北市立大學運動藝術學系展演，《我想…@I thought ;I think ;I will think.com》羅密歐與茱麗葉之陣頭改編版…展現奇幻多姿的另類視界。本文擬論述此流變之歷程。

關鍵字

藝陣 ； 舞蹈 ； 跨文化劇場

並列摘要

Today with the globalization people use the internet as their common language to discuss and share interesting topics which introduce similarities across different cultures. This makes the need of standing out among the similarities become especially important. The humanities and culture of where we are at is the foundation of forming the interactions and the communications of various cultures. If traditional arts are vectors the folk art parade of body language is then the genes of the culture. Tracing back the Taiwanese folk art parade in that original work is not only just the humanistic and cultural wisdom past down from the ancestors but like spectators observing the text which was used by the predecessors to voice and be part of their life accomplishments. The establishment of the Han Taiwanese society originated in the year of 1621. In 1662 due to the Han reclamation and the solidification of the power of Zheng Chenggong alongside with the establishment of schools and academies the teachings and the sinology of Confucianism spread throughout Taiwan. Folk art parade attaching itself to the agricultural lifestyle and local religious beliefs expanded across Taiwan. Using folk custom folk art parade as the creative theme of performance art many works have been done. Starting from the 50s with Shufen Li and Xiangyun Lin the dance troupe began to be introduced onto the international stage. Examples include Taipei Folk Dance Theatre's Homage to the Gods Cloud Gate Dance Company's Dance of Plowing and Legend Lin Dance Theatre's Legend etc. Change was induced in the folk art parade due to the influence of Western theatrical forms. With the rise of contemporary performance art traditional folk art parade became an element of creation of cross-cultural theatre. With it came the new appearance of the fusion of various disciplines diverse performance styles that were either the combinations of many elements or the deconstruction followed by the recombination of different elements. An example would be the folk parade version of Romeo and Juliet which exhibited an unconventional perspective and view that were fantastical and colorful. This article discusses the process of the transformation of the folk art parade.

並列關鍵字

Folk Art Parade (Yi Jhen) ； Dance ； Intercultural Theatre