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  • 學位論文

台灣表演藝術家國際駐村交流研究

A Study of Border-Crossing Artist-in-Residence for Performing Artists in Taiwan

指導教授 : 廖仁義
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摘要


從歷史上來看,藝術家國際駐村之行動,曾在17世紀的藝術發展中扮演重要角色,藝術家社群透過跨文化跨國界的交流,實踐當時崇尚復古的生活態度;更藉由創作表現,將此重返自然的精神散播各地,形成一股風潮。今日,隨著全球化腳步、科技網絡的進步,藝術家國際駐村行動再次於各地蓬勃興起。從各國中央政府機關、地方政府到民間基金會不斷推動各式各樣的國際駐村計畫,希望協助藝術家在不同文化差異間刺激創作靈感,同時藉此行動實踐文化外交,提升國家文化交流經驗。 全球各地政府文化單位,以歐盟為例,針對各類型藝術工作者跨國間的流動及駐村提出五年旗艦計畫,挹注資金建立藝術工作者進行跨國交流的易達性。雖然歐盟的交流政策並非單一著重藝術家駐村,但政策上以打造有利於藝術工作者交流的環境為最大目的,從計劃單位到執行單位建立系統性的資源網絡。而國內相關藝術家駐村之政府單位計劃,最早可追溯至1998年起由教育部國際交流處第五科所負責推動之「巴黎國際藝術村工作室藝術人員遴選」; 1999年文建會規劃辦理「甄選視覺藝術人才出國駐村創作及交流計劃」; 2003年隸屬台北市政府文化局之台北國際藝術村開始推動國際交流駐村行動,都是公部門對於獎勵藝術人才進行國際交流的重要計畫。然而,從過去駐村的成果數據統計顯示,國內視覺藝術為國際駐村交流獎助之最大宗,獎助期間約以三個月為最常見之模式。 台灣表演藝術家在駐村計劃上為相對少數原因為何?本研究藉由訪談曾出國駐村之表演藝術家,以及台灣駐村計畫執行單位兩種角度,分別歸納整理出表演藝術家在駐村中面臨的困難,以及推動執行單位在計劃推動中的種種關卡。綜合以上兩種觀點,試圖找出表演藝術家國際駐村困境的出口,包含網絡資源面以及駐村概念應用面的解決方向。最後本研究希望強調由駐村開展出的資源網絡,以及多元化的駐村計劃,提出台灣表演藝術家國際駐村交流的未來可行方向,讓表演藝術家在國際駐村中有更多參與的機會。

並列摘要


From historical perspective, artist-in-residence (A.I.R.) activities took an important role in arts history in 17th century. Artists at that time revived the old-time life style by practicing cross-culture and cross-border exchange. They also spread out the attitude of retrieving the connection to the nature by creating art works. Nowadays, with the impact of globalization and the progress of technology, A.I.R. activity has now revived all over the world. From central government programs to non-governmental foundation projects, there are more and more diversified exchange programs coming out. This thesis seeks to help artists to be stimulated by exploring to different cultures through those exchange programs. In the meantime, it also expect to increase a country’s cultural exchange experience as well as to practice cultural diplomacy. Governmental culture sectors in the world, take European Union for instance, proposed a five-year pilot project for cross-border artist mobility in different art genres. In which, they invest budget for a greater accessibility for artists mobility. Though exchange policy of EU doesn’t focus on A.I.R., it aims to build up a better environment which is a rather systematic resource networks for artist exchange. In Taiwan, on the other hand, the earliest A.I.R. project can be traced back to 1998.” The Cité des Arts Project” was firstly organized by Ministry of Education. Since 1999, Council for Cultural Affairs had organized the cross-border A.I.R. project for visual artists. The project has cooperated for both visual and performing artists since 2005. Taipei Arts Village, which is supervised by Taipei city government, started its A.I.R. project in 2003.Those projects above are important ones which are organized by the government. However, if we look at the statistic of the numbers of artists going abroad through these projects, we can easily find that visual artists have more opportunities than performing artists. And the duration of three -months is the most seen. What is the reason that performing artists have less opportunities having resident opportunity abroad? This thesis aims to find out the possible problems and difficulties performing artists would encounter when going for A.I.R. projects by interviewing them. In addition, the A.I.R organizers, who are mostly from governmental sectors, are the other valuable perspective to this thesis. To integrate these two different points of view, I hope to propose suggestions which can help Taiwanese performing artists have more overseas resident opportunities in the future.

參考文獻


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