芮斯的排灣古調吟唱溯源技術研究

Singing the Ancient Paiwan Songs as the Sourcing Technique: A Case Study of the Paiwan Singer Resres Ljivuljivuan

陳羿安(Yi-An Chen)

指導教授 ： 鍾明德

國立臺北藝術大學/戲劇學院學術論文/戲劇學系碩士班/碩士(2017年)

摘要

本篇論文探討排灣族劇場聲音工作者芮斯（Reseres Ljivuljivuan）吟唱古調中的溯源技術（Sourcing Technique）。藉由二十世紀波蘭大師葛羅托斯基（Jerzy Grotwoski, 1933-1999）後期的身體行動方法（Method of Physical actions）之一──吟唱古調──來看芮斯如何藉由吟唱排灣族古調來工作自我身心，並達到表演者的「最佳表演狀態」。論述過程包含以《芮斯歸來》專輯的樂曲演唱分析，以及《米靈岸音樂劇場》獨唱片段的樂曲及詮釋分析，來切入「身體行動方法」之音樂工作方式。還包含客觀描述葛氏門人湯姆士˙理查茲（Richard Thomas）來台舉辦「果托夫斯基國際交流分享會」工作坊（2015）的過程，來探討古調中母音、虛詞、和聲、架構等元素對於表演者身心狀態轉換的影響。

　　本論文發現芮斯的「非日常狀態」從日常生活即開始建立：平時守持「精神信仰」所帶來的戒律，以及如刺繡的日常實踐操練，培養「安定」之能力。演出前建立起「安定」的中介時間，孕育「覺察」的能量。演出時受到古調四大元素：母音、虛詞、和聲及架構的特性與所帶來的聲響功能之影響，以及精準地操作她建立的古調吟唱表演程式，讓情感詮釋能透過共鳴的聲響傳遞，不僅能在舞台上達到最佳表演狀態，也讓她溯回「二分之前的自己」，達到「安定寧靜又全然喜悅」的非日常狀態。

關鍵字

芮斯 ； 排灣古調吟唱 ； 溯源技術 ； 身體行動方法 ； 非日常狀態

並列摘要

Abstract

This work aims to illuminate how the Paiwan singer “Resres Ljivuljivuan” sings the ancient Paiwan songs as the sourcing techniques. Singing ancient traditional songs is one of Method of Physical actions (MPA), created by Jerzy Grotwoski, the influential Polish director of the 20thCentury, in his later period. The objectives of this research focus on how Resres Ljivuljivuan uses this MPA on the stage to work herself and achieve the “inner creative state”(also can be called the "extra-daily state"). Therefore, this work includes the singing analysis and interpretation of Resres’s first Album “RS Legend” as well as the solo pieces in her biggest musical “Miling’an Musical Theather”, which can be used to describe the music aspect of MPA. This paper also explores the influence of four factors in ancient songs, named as vowels, vocables, harmonies and structures for the transformation on performers’ inner process in evidence of the observation from the workshop held by The Work-center of Jerzy Grotowski and Thomas Richards and U-theater in July, 2015.

　　　　This work refers that the extra-daily state of Resres set up from her daily life. Day by day she keeps the moral precepts from her belief, and practices the embroidery for cultivating Samadhi. She also establishes the liminal time before the performance to accumulate the power of awareness. During the performance, she is not only influenced by the sound effect from the four factors in ancient songs, but also can practice the performing score of singing ancient songs precisely so that her affective interpretation can be transmitted by her resonance sound. Hence, she can not only achieve the inner creative state on the stage, but also trace back to the origin-- the state that a man who could precede difference, and achieve the extra-daily state of tranquility and joy.

並列關鍵字

Reseres Ljivuljivuan ； the ancient Paiwan songs singing ； the sourcing techniques ； Method of Physical actions (MPA) ； the extra-daily state.

參考文獻

楊筠圃 (2014) 《尋找演員的存在感──起霸作為一種身體行動方法》。臺北：國立台北藝術大學戲劇學系碩士論文。

── (2005b) 〈排灣族的複音歌謠----大社村與平和村的採集〉，《屏東文獻》9：157-192。

劉千嘉 (2011) 〈臺灣都市原住民的族群通婚：社會界線的世代差異〉，《人口學刊》。42: 115-153。http://www.psc.ntu.edu.tw/outline/e_paper/pop42/4.pdf（2016.12查閱）

周明傑 (2005a) 《排灣族與魯凱族複音歌謠比較研究》。臺北：國立臺北藝術大學音樂學研究所碩士論文。

楊欣芳 (2016) 《從劇場遊戲到身心訓練：台灣戲劇學系訓練演員的幾個主要問題研究（1980-2015）》。國立臺北藝術大學戲劇學院戲劇學系博士班博士論文。