臺灣原住民樂舞從祭儀到展演的劇場概念之研究：以「原舞者」為例

A Study on the Development of Twaianese Aboriginal Performing Arts from Ritual to Theatrical and it’s Concept of Stage: Based on the case of Formosa Aboriginal Song and Dance Troup

江政樺(Cheng-Hua Chiang)

指導教授 ： 廖仁義

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(2012年)

摘要

臺灣原住民祭儀的形式和文化內涵豐富，當中的樂舞則是鞏固原住民社會，以及反應其文化特色的重要表徵。然而，原住民社會隨著環境變遷，已然改變了以往的生活型態。「原住民祭儀樂舞」也在觀光展演及舞臺化脈絡底下出現了為觀眾展演的性質。時至今日，臺灣原住民對於主體性的爭取和文化傳承的努力也出現在劇場環境中。其中尤以1991年成立的「原舞者」，其秉持文化傳承和劇場專業的目標，展示了一條原住民表演藝術自主和文化認同的獨特現象。「原住民祭儀樂舞」的展演進入劇場，不僅表示其自族群文化的特性逐步跨向藝術性的範疇，也引發了進入劇場殿堂之後的真實性和藝術性論述。

從先行研究中得知「原住民祭儀樂舞」進入劇場之後，不僅在形式和意義上不同於部落，也產生了藝術專業和部落文化之間的適應問題。本研究關注祭儀樂舞形成展演的歷史脈絡，以及劇場如何影響原住民樂舞團體的發展為研究的出發點，透過案例「原舞者」的劇場實踐，理解其處理「原住民祭儀樂舞」和劇場藝術性之關係的作法。

本研究首先從觀光展演、舞臺化的歷程檢視「原住民祭儀樂舞」的展演現象，以及整理「原舞者」的劇場實踐歷程，和其作品發展的變化，作為進一步分析「原舞者」形成「劇場概念」的基礎。最後分析「原舞者」的劇場展演作法，歸納其「劇場概念」，期能就該案例之分析結果，提供原住民樂舞團體於融合樂舞文化和藝術價值時的參考，如此將能夠讓臺灣的表演藝術界有更多元化的樣貌。

關鍵字

原舞者 ； 原住民樂舞團體 ； 原住民祭儀樂舞 ； 劇場概念

並列摘要

The forms and cultures of Taiwan aboriginal rituals are of rich indications. Among them, dance and music are the significant elements to consolidate the aboriginal society as well as to reflect its cultural characteristics. However, the aboriginal society has changed with the environment. “Traditional aboriginal dance and music”has therefore gained a feature to perform for an audience in the tourism performance and stagewise context. Up until now, Taiwan aboriginals’ efforts in fighting for their subjectivities and passing down their cultures have also appeared in the theatre. With its goals of cultural inheritance and theatrical expertise, Formosa Aboriginal Song and Dance Troup (FASDT, founded in 1991) especially shows a unique phenomenon of cultural identity and aboriginal autonomy in performing arts. That the performance of traditional aboriginal dance and music has entered the theatre not only represents the step from their ethnic culture to art, but also induces discourses on their reality and artistry in the theatre halls.
From previous studies, we have learned that not only the forms and meanings of traditional aboriginal dance and music are different from those in their tribes, but also they incurred problems when adapting tribal culture to artistic proficiency. This study stresses on the historical context of how traditional aboriginal dance and music turned into performances, as well as on how theatre influenced the development of aboriginal musical-dancing groups. Based on the theatrical practice of FASDT, this study intends to understand its approach of working on the relationship of traditional aboriginal dance and music and their theatrical artistry.

This study will first investigate the performing phenomena of traditional aboriginal dance and music from the aspects of tourism performance and their stagewise process. Then the process of FASDT’s theatrical practice as well as the changes in their artwork development will be integrated in the study as the basis of further analysis of how FASDT formed its Concept of Stage. Finally, this study will analyze FASDT’s approaches to its theatrical performances and induce its concept of stage, with the hope to offer references for aboriginal musical-dancing groups to blend their music-dancing culture and artistic values, and thus contribute to the multiple facets of performance art in Taiwan.

並列關鍵字

Formosa Aboriginal Song and Dance Troup (FASDT) ； aboriginal musical-dancing groups ； traditional aboriginal dance and music ； concept of stage

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