要熱鬧，也要有文化——舞台車的跨域變身與場面塑造

本研究以舞台車為主題的節慶與文化行動為題，指出舞台車如何藉由空間錯置的拼場與開場，在跨媒介的活動中形塑出消費場所，藉此凸顯舞台車在電子花車產業中獨特的樣貌。作者以參與式觀察與深度訪談為主要研究方法，首先指出電子花車產業如何在國家文化政策及文化國族氛圍中跌落又興起，進入美學化的跨域實踐。接著作者以角頭音樂「金光舞台車閃閃嘉年華」與紙風車文教基金會「台灣鄉村卡車藝術工程」為例，通過空間配置、節目設計的空間生產機制，說明舞台車如何形塑生活空間為「奇觀場面」與「文化場面」。最後，本文將視野轉回舞台車車主與製造廠的日常實作，呈現維繫舞台車生產出消費場所的基礎，是以家族、技術與社會關係糾纏而生的「生活地方」。奇觀場面與文化場面既延續了生活地方的部分特質，卻又在空間錯置的跨域移動中產製出新的面貌。本文主張，庶民文化的電子花車產業，歷經污名化、本土化的國族認同風潮，並在技術的發展下進入美學化、奇觀化與精緻化的挪用框架，除了展現舞台車藉空間錯置的熱鬧渲染力，達到懷舊淨化與國族文化符號的效果，卻也使得美學化等挪用內容漸漸脫離了舞台車產業的日常，並可能隱含再次污名化的張力。

關鍵字

電子花車；舞台車；都市節慶；藝術下鄉；空間塑造

並列摘要

This study focuses on the transformation of stage-trucks, and points out how the stage-trucks can create a consuming space in the cross-media activities by means of space-staggered competing and opening, thereby highlighting the uses of stage-trucks in present. The author takes participatory observation and deep imitation as the main research methods. Firstly, it points out how the electronic float industry has fallen and rises in the national cultural policy and cultural nationality atmosphere, and enters the cross-domain practice of aesthetics. The authors used the corner music "Taiwan Color Stage Fest" and the Paper Windmill Culture and Education Foundation "Taiwan Country Art Trucks Project" as an example to explain how the stage-trucks shapes the living space through space displacement, program design. "Spectacle space" and "Cultural space". Finally, this article turns the vision back to the daily practice of the stage-trucks owners and manufacturers, and presents the basis for maintaining the stage-trucks to produce consuming places. It is a "Living space" that is entangled in family, technology and social relationship. The "Spectacle space" and "Cultural space" not only continue some of the characteristics of the "Living space", but also produce a new look in the cross-domain movement of the displacement. This paper argues that the electronic float industry of folk culture has experienced the stigma and identity of nationalism, and now has entered the framework of aestheticization. The exuberant rendering power achieves the effect of nostalgic purification and national cultural symbols, but it also makes the content of aesthetics and other misappropriation gradually get rid of the daily life of the stage-trucks industry, and may imply the tension of stigmatization once again.