惡之華－－秦Kanoko舞踏的惡所美學

The Flowers of "Akusho"－－Japanese Butoh Dancer-choreographer Hata-Kanoko's "Akusho" Aesthetics

尤苡人(Yi-Jen Yu)

指導教授 ： 林鶴宜 ； 林于竝

國立臺灣大學/文學院/戲劇學研究所/碩士(2011年)

https://doi.org/10.6342/NTU.2011.02689

摘要

自1959年土方巽（Hijikata Tatsumi, 1928-1986）發表了目前公認世界第一個舞踏作品《禁色》以來，舞踏在日本國內經過數十年發展，於80年代始向歐美出發。透過創始者土方巽的「日本回歸」思維創出之白妝、蟹足等基本形式，舞踏化身「日本」的美學標記為西方人所辨識；其藝術特徵與後現代解構潮流的吻合，亦引起西方藝術品味的共鳴。從結果來看，舞踏作為一種「日本」的延伸成功地被西方世界看見，但此成功卻是脫離文化脈絡的誤讀。舞踏自我否定的根源、反西方、反近代的內涵，換言之，過去土方巽藉由「東北」發掘出的「被排除」的、「暗黑」的「真正」的日本，實在人們用舞踏追索日本，並越發牢牢握住所謂「日本」的時候，遭到再度失落的命運。

1998年，師承土方巽直系弟子栗太郎（Kuritaro）的日本舞踏家秦Kanoko首度來臺，自此在臺灣定居、創作，至2009年作品《惡之華》為止，正好整整十年。相較於漸趨中產階級化、喪失抗爭性的舞踏主流，秦Kanoko堅持不接受任何經費補助，持續在「邊緣」為土地與民眾記憶而舞，十年來創作不輟，更於2005年創立了臺灣地一個舞踏團體「黃蝶南天舞踏團」。對秦Kanoko而言，舞踏不僅是藝術形式，而是一種戰鬥的姿態、生存的樣貌。此一主張尤其在2005年與樂生療養院拆遷議題相遇後更加明朗。封存於樂生院民身體中的苦難與壓迫經驗使秦Kanoko找到她的舞踏真正的意義與面貌，此後她不僅實地參與樂生反迫遷抗爭，與樂生相遇後的作品《天然之美》（2006）與《惡之華》（2009）更在空間、題材、場地等層面上顯示了以樂生為核心、為樂生而舞的志願。

本研究依循秦Kanoko對《惡之華》的自我闡述，以誕育日本古典藝能的邊緣場域「惡所」為鑰，將秦Kanoko「離開日本前往『亞洲』，繼而來到臺灣，與樂生相遇」此一空間移動歷程視為其美學探索的旅程。此美學源自不斷向「惡所」傾注的視線，並以創作及演出活動作為向「惡」之根源深掘的身體實踐，是為「惡所」的美學。本研究以秦Kanoko在臺創作十周年紀念作品《惡之華》之實際演出內容及參與者經驗為文本，細部探究其「惡所」美學對於傳統日本惡所文化的承襲，及其舞踏在臺灣，尤其是樂生療養院的實踐問題。藉此，我們或可為秦Kanoko充滿流動與跨界性質的「臺灣舞踏」創作找到它在惡所美學實踐脈絡上的位置，從而窺見臺灣作為另一種「惡所」的表述，究竟展現出怎樣多義性的「惡」之內涵，以及相異於「日本」舞踏的曖昧身體風景。

關鍵字

舞踏 ； 秦Kanoko ； 黃蝶南天舞踏團 ； 惡所 ； 日本戰後前衛劇場 ； 民眾戲劇

並列摘要

Since 1959, the first piece of Butoh in the world Forbbiden Colors (Kinshiki) was premiered by Hijikata Tatsumi (1928-1986) , over the past decades, Butoh has developed into a representative genre of Japanese modern dance and avant-garde theatre, and started to gain its international reputation in 1980s. As the features of traditional Japanese performing art adapted in the body forms make Butoh distinctly “Japanese” to the western audience, the rebellious posture of Butoh also becomes a seeming response to the call of post-modern trend rising in American and European theatre, the “darkness” inside Butoh, which is originally illustrated by Hijikata with the phrase ”eastern north”, came to lost eventually.

In 1998, the student of one of Hijikata’s successors Kuritaro, Japanese Butoh dancer-choreographer Hata-Kanoko made her visit to Taiwan. During the ten years between 1998 and the presentation of her work Fleur du Mal in 2009, she has presented most of her Butoh works in Taiwan under the cooperation with Taiwanese performers. Compared to the mainstream of Butoh that tends towards bourgeois style, Hata-Kanoko refuses any kind of subsidization, insisting on staying in margins with the oppressed, dancing for them and their history. This leftwing marginal political position has become even clearer after she came across Losheng Sanatorium, a former isolated hospital for leprosy patients built in Japanese colonial period whose location is now threatened by the construction of Taipei Metro. The painful memories within these patients’ bodies made Hata-Kanoko confronted the extremity against which she has been trying to fight. Two of her works created after then, including Fleur du Mal, are all about Losheng, for the patients in Losheng, and presented inside the sanatorium.

This study follows Hata-Kanoko’s self interpretation towards Fleur du Mal, using the concept of one kind of special entertainment district in Edo Period Japan “Akusho” to approach Hata-Kanoko’s Butoh works. From this view, we can discover that Hata-Kanoko’s journey to Taiwan and Losheng Sanatorium is not just a coincidence, but a series of movement pursuing the margins, in other word, the “Akusho. Her creation is a practice of summoning, presenting “Akusho”, her Butoh aesthetics can also be demonstrated as “Akusho” aesthetics. The study focuses on the piece celebrating Hata-Kanoko’s tenth anniversary in Taiwan Fleur du Mal, examines both its performed text and the experiences of Taiwanese participants, seeks to explicate the inner textures of Hata-Kanoko’s “Akusho” aesthetics, which may include the traditional Japanese culture of “Akusho”, the booming avant-garde theatre movement in post-war Japan , and Hata-Kanoko’s experience in Taiwan. At last, its purpose would be finding out what these practices has accomplished and explore the possibility of the birth of “Taiwanese Butoh”.

並列關鍵字

Butoh ； Hata-Kanoko ； Yellow Butterfly Flying to the South Butoh Company ； Akusho ； Japanese post-war avant-garde theatre

參考文獻

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