舞蹈研究的跨領域借鏡：淺談文化與批判理論之效應

本文的重點在於建構一個由學門外進行學門內的跨領域批判觀點，著眼於一種迂迴的革命，藉由框架變動本身所提供的思維，探討如何開發舞蹈知識（episteme）的另類來源，檢驗舞蹈論述中的「未思」之處，透過思考框架的鬆動，側進旁擊那使舞蹈由「動詞」變成「名詞」的學術象牙塔，重新活絡舞蹈理論的能動性。其實，批判、評論並非評論家莫屬的行動，近年來更由於交通、傳播、科技的發展，加上無法抗拒的全球化浪潮，一般人為了因應大環境的快速變遷，早已很難再執著於單一角色、單一專長的生存方式，更遑論定錨於單一領域的舞蹈研究，將如何面對知識經濟和國際化的考驗？但是，要談批判理論，得先確立何謂理論？其所指涉的學說與學派為何？其論述的設定與批判的對象為何？由此，舞蹈研究談如何借鏡文化研究及批判理論的效應，方能互為體用，而不致於使舞蹈學術成為各種理論的臣屬領域。衡諸史實與個人所學之侷限，本文之討論範圍將僅涉及1965年之後，批判理論（Critical Theory）與文化研究（Cultural Studies）對舞蹈的啟示及其發展。更確切地說，亦即申論我個人在詮釋、分析舞作的過程中，重點地對所謂的後現代、後結構、新馬克思、後殖民主義等「後學」論述，作一番耙梳與再思考。

關鍵字

舞蹈；批判理論；文化研究；後學論述

並列摘要

As cultural encounters intensify rapidly from the colonial era onwards, the demands of cross-cultural, inter-cultural, or trans-cultural research have, in recent years, promoted worldwide interests and commitments among university intellectuals and dance scholars. In light of the political, economic, and cultural changes brought about by globalization, I argue that a single system research in the style of discipline-building has rendered dance studies increasingly insufficient. This essay will demonstrate how critical theory and cultural studies have converged upon a mode of interdisciplinary inquiries into dance. It evokes interactive understanding of identity and belonging that will depart from a conventional tendency towards de-politicization and hyper-specialization in academic division and hierarchies. In doing so, I hope to encourage genuine dialogue across the boundaries that define disciplinary power blocs. For the sake of a limited scope, I will confine my discussion to the formation of theory and anti-theory in dance, while, under the umbrella of post-ism, I will selectively link post-structuralism, post-colonialism, and post-Marxism with dancing post-modernism.

並列關鍵字

Dance ； Critical Theory ； Cultural Studies ； Post-ism

國際替代計量

舞蹈研究的跨領域借鏡：淺談文化與批判理論之效應

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