兩廳院的誕生與文化政策

The Birth of National Theater in Taiwan and its Cultural Production

邱筱喬(Hsiao-Chiao Chiu)

指導教授 ： 陳其南

國立臺北藝術大學/文化資源學院學術論文/藝術行政與管理研究所碩士班/碩士(2010年)

https://doi.org/10.6835/TNUA.2010.00010

摘要

1976年決議興建的「國立中正文化中心國家戲劇院與國家音樂廳」 (以下簡稱「兩廳院」)，是一個意外的政治產物：附隨在為紀念先總統蔣中正而建造的「中正紀念堂園區」裡面。身為國族主義政治產物的兩廳院，一開始並沒有所謂「文化政策」的類似說法與規劃，無論如何，1987年開幕的兩廳院，仍然在相當程度上反映了國內表演藝術在這二十年來的轉變與發展。另一方面，兩廳院至今仍是國內唯一具有國際水準與專業規格的表演場地，這種空間資源的特殊性與稀有性地位，使其場地檔期總是成為兵家必爭之地，相關爭議也從未止息。本研究便是著眼於兩廳院這個空間資源的特殊地位，及其文化生產、文化政策進行探究。

本研究從西方藝術發展脈絡的檢視開始，接續探討了兩廳院的誕生背景，以及這個空間資源的屬性，然後把這個空間資源連結上文化政策的實踐，也就是兩廳院官方如何透過空間資源的分配運作來實踐其文化理念，而所謂的文化理念則隨著主事者的人事更替有著相應的觀點變遷。作為藝術的生產工具的空間資源，對於藝術生產者、仲介者而言是不可或缺的存在，而兩廳院本身的特殊性質更增添了這個資源本身的重要性，此外在兩廳院官方以主辦節目所提供的場地與經費資源的支援下，這種藝術補助的模式多少地影響了國內表演藝術的生產；據此，兩廳院本身著實在台灣表演藝術發展上扮演了一個鮮明的角色。而兩廳院在社會普遍意識上作為一個「精緻藝術的殿堂」，在性質上便有無法交由市場機制運作的困難；另外，無論是從布爾迪厄對於批判性文化的擁護立場，還是阿多諾從哲學與美學反思出發的對於藝術自主性的看重，都承認並同意政府行政適度介入文化藝術的必要。尤其是當代文化消費之中的商品拜物教現象，更是時時刻刻地威脅著藝術家的作品生產、藝術消費者的美學體驗，而進一步地破壞了藝術原本所可能提供的，讓人們以另一種不同於文化工業(資本主義的生產邏輯)的方式、跳脫那主宰著人們思維的概念機制來體驗生活的可能性；在這樣的境況下，如果我們依舊肯定藝術的自主性、批判性與反思性的價值，國家政府的介入手段可以提供一個緩衝的途徑，保護文化藝術避免市場機制的摧殘。也就是說，我們必須從當代文化消費現象的境況，來重新思考兩廳院在台灣文化藝術領域中扮演的角色。

關鍵字

兩廳院 ； 空間資源 ； 文化政策 ； 藝術生產 ； 文化消費 ； 文化工業

並列摘要

The National Theater and Concert Hall (or the NTCH), which was decided to build in 1976, came from a particular political purpose: to memorize the ex-president Chiang Kai-Shek. As a landscape which has political implication and a performing hall, it is rarely to recognize the NTCH as a medium of cultural policies. However, from its opening in 1987 till now, the NTCH, to some extent, reflects the changing and development of the performing arts in Taiwan. On the other hand, the NTCH is still the only performing hall which reaches the international level and has professional facilities in Taiwan so far, and its scarce quality as a spacial resource made itself as a controversial place. Considering the NTCH as a special position in the cultural field in Taiwan, this research focus on describing what a spacial resource the NTCH is, and discussing its cultural production and how it functions as a medium of cultural policies.

In order to demonstrate what a spacial resource the NTCH is, I examined the context of western art history first and then linked it to the particular political and cultural background of the birth of the NTCH to argue it as a representation of cultural modernity and modernization in 80’s and as a means of production in the art production which plays a big role in the cultural field in Taiwan. Moreover, the NTCH, which provides the artists with its spacial resource and financial support to encourage art production, is a medium of the practice of the idea of culture and cultural policies, so that I also discussed the cultural or aesthetic idea and other concerns of the different official directors of the NTCH as the time passed by. Nevertheless, there are always various kinds of opinions about whether the government should subsidize art or not, and the artists often claim that art is and should be away from politics and economics. From the perspectives of Bourdieu and Adorno, if we would like to protect the autonomy and the critical power of art, we cannot deny the significant role the government plays in the cultural field. Especially nowadays we face the phenomena of Culture Industry, the term which was from Adorno in 1940s, and even a more enhanced situation, the commodity-form culture replaced the bourgeois idea of art as something that is exempt from all practical purpose, and the autonomy of art is much more difficult to see or even is appropriated by Culture Industry (the monopoly capitalism), which constructs the structure of domination in our conceptual apparatus. For Adorno, art can provides us with a different way to experience this world and that is the reason why the autonomy of art is so important in his theory. As a conclusion, we have to rethink the cultural policies of the NTCH in the contemporary condition, in which the core value of culture and are is increasingly violated by the commodification of culture.

並列關鍵字

the NTCH ； spacial resource ； cultural policy ； art production ； cultural consumption ； Culture Industry

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